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Subject: [h-cost] Happy New Year!!!!!!!
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Date: Wed, 1 Jan 2003 00:03:32 -0500
Status: RO

Welcome to 2003 from Chesterfield, Virginia!!!!!!!!

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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] What costumey did you sew/make over the holidays?
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Date: Tue, 31 Dec 2002 20:52:55 -0800
Status: RO


> >> Nicole - who FINALLY realised what she really, really wants to do, at
>the age
> >> of almost 34.
> >>
>
>Nicole, you're a mere child!  I was 43 when my life's work became apparent.

And here I am, at the tender age of 53, and I finally think I have found 
what I really want to do - designing and making cloth dolls.


Kayta

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Date: Wed, 01 Jan 2003 00:16:46 -0500
Status: RO



Penny Ladnier wrote:
> 
> Welcome to 2003 from Chesterfield, Virginia!!!!!!!!
> 
Happy New Year to all. May this be the best year yet.

Di
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Subject: [h-cost] What costumey did you sew/make over the holidays?
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Date: Wed, 01 Jan 2003 00:26:38 -0500
Status: RO

sounds like you got a lot done, nicole. i feel like a complete schlepp now:)
i got a pair of tabbed stays nearly completed-i need to trim down the top
and armscye and finish the bias binding, i've started the bodice for a
1580's venetian gown of dark blue velveteen lined w/steel blue silk taffeta
(i know, but *i'll* know it's there) and then i did a turn about the sewing
room muttering "i have way too much fabric and way too little time".

happy new year to you all!

laurie 
> Message: 6
> Date: Tue, 31 Dec 2002 09:58:02 +0000 (GMT)
> From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
> To: H-Costume <h-costume@indra.com>
> Subject: [h-cost] What costumey did you sew/make over the holidays?
> Reply-To: h-costume@mail.indra.com
> 
> So... I wonder if I'm the only one (and heartily disbelieve this) who used/is
> using all those days off work for sewing and other costume bits. I am very
> curious what others are working on, go on, please satisfy my curiosity!
> *grins*

> Nicole - eager to hear from others!
> 
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org

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Date: Tue, 31 Dec 2002 22:16:38 -0800
Status: RO

Happy new year to you too, but it's still 2002 here in California, and will 
be for a couple of hours yet.

>Welcome to 2003 from Chesterfield, Virginia!!!!!!!!
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>http://www.costumegallery.com
>http://www.costumeclassroom.com
>http://www.onlinecostumeball.com
>
>
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Kayta

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Date: Wed, 01 Jan 2003 01:06:24 -0800
Status: RO


>Welcome to 2003 from Chesterfield, Virginia!!!!!!!!

OK, OK, now it's happy new year in San Francisco.


Kayta

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Subject: [h-cost] A Christmas Wish
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Date: Wed, 1 Jan 2003 05:30:29 -0500
Status: RO

I am so thrilled!!!  All I wanted for Christmas was to be able to work
without pain again.  I think I have ***IT*** back.   Last summer I had two
degenerative diseases hit me hard.   My doctor started me on some new meds
two weeks ago... I tested myself  Saturday to work on a project that I
started last summer. (I cleaned the images then.) I wanted to do the project
all by myself to see if I could do it.  I finished the project just a few
minutes ago!!!  In three days!!!!  70 webpages!!  I am so excited I could
cry.  My heart was broken when I couldn't work.

Only a few people knew how sick I really was.  Teddy urged me to tell you
all but I really could not go to the computer long enough to do a lot of
answer mail.  I just did student enrollments.  Susan had been keeping up
with everything in the business and telling me about what has been going on
h-costume.  She is a GREAT lurker on the list.  She may not talk on the list
but she keeps up with everyone.

So here it is... I hope you all really enjoy this site.  It is a 1922
Catalog of Rubber: Clothing, Uniforms, and Accessories from Raynster and the
U.S Rubber Company.
http://www.costumegallery.com/1922/Rubber/  If I still haven't convinced
some of you that menswear is not boring, take a look at the Occupations
section, especially the Misc. sub-section (there are 2 index pages of them).
If you glance at this work quickly, you will think they all look a like...
look at the details (pockets, sleeves, etc.)  They were made differently
because of their usage.  The catalog gave wonderful descriptions of each
item.  The Accessories section is also fun.

Angela, before you ask, on every webpage it states that these items were
sold in 35 U.S. and Canadian cities.  What is fun in the descriptions, some
will state what areas of the country the items were popular.  (see Angela
smiling :))

I'm BACCCCCCCCCCCCK!!!!!!!

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  Wed Jan  1 06:36:27 2003
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Subject: Re: [h-cost] A Christmas Wish
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Date: Wed, 1 Jan 2003 12:32:48 +0000
Status: RO

Penny you're an inspiration!!!
I'll try to  remember you and this email while I'm offline over the next 
several weeks or months and during this coming year.
Hope that your health improves every day and that the New Year brings 
you loads of joy.

Marcus.

On Wednesday, January 1, 2003, at 10:30  am, Penny Ladnier wrote:

> I am so thrilled!!!  All I wanted for Christmas was to be able to work
> without pain again.  I think I have ***IT*** back.   Last summer I had 
> two
> degenerative diseases hit me hard.   My doctor started me on some new 
> meds
> two weeks ago... I tested myself  Saturday to work on a project that I
> started last summer. (I cleaned the images then.) I wanted to do the 
> project
> all by myself to see if I could do it.  I finished the project just a 
> few
> minutes ago!!!  In three days!!!!  70 webpages!!  I am so excited I 
> could
> cry.  My heart was broken when I couldn't work.
>
>

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From: Ella Lynoure Rajamaki <lynoure@tuug.fi>
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Subject: [h-cost] Hint for making 1913 evening dress
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Date: Wed, 1 Jan 2003 13:51:49 +0200 (EET)
Status: RO


I'm about to start making a dress that makes me very nervous, because it's
from an era I'm not very familiar with and because it's going to be my
wedding dress. It's going to be a copy of the dress on pages 377 to 380 of
Costume in Detail 1730-1930, but I'm considering using light purple colour
instead of light blue.

Could somebody give me hints about dressmaking or pattern making of that
era? E.g. does a "close enough" pattern already exist?

-- 
Lynoure Rajamaki
lynoure@tuug.fi

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From h-costume-admin@indra.com  Wed Jan  1 07:06:31 2003
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Subject: oooops Re: [h-cost] Hint for making 1913 evening dress
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Date: Wed, 1 Jan 2003 12:07:03 +0000 (GMT)
Status: RO

OOOOPS! I am such an ass, you gave the era in the subject line...
Sorry! ;-)
Can't help with 1913 I'm afraid *hands her over to those who know*

Nicole 

 --- Ella Lynoure Rajamaki <lynoure@tuug.fi> wrote: > 
> I'm about to start making a dress that makes me very nervous, because it's
> from an era I'm not very familiar with and because it's going to be my
> wedding dress. It's going to be a copy of the dress on pages 377 to 380 of
> Costume in Detail 1730-1930, but I'm considering using light purple colour
> instead of light blue.
> 
> Could somebody give me hints about dressmaking or pattern making of that
> era? E.g. does a "close enough" pattern already exist?
> 
> -- 
> Lynoure Rajamaki
> lynoure@tuug.fi
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Wed, 1 Jan 2003 12:05:35 +0000 (GMT)
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 --- Ella Lynoure Rajamaki <lynoure@tuug.fi> wrote: > 

> Could somebody give me hints about dressmaking or pattern making of that
> era? E.g. does a "close enough" pattern already exist?

Could you do us a favour and tell us WHICH era? I can't be asked to find my
copy of Costume in detail, sorry, but it's buried somewhere... ;-)

Nicole

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Subject: Re: [h-cost] What costumey did you sew/make over the holidays?
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 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 

> And here I am, at the tender age of 53, and I finally think I have found 
> what I really want to do - designing and making cloth dolls.
> 
To say/sing it with Steppenwolf:

It's never too late to start all over again!

Good luck Kayta, and I can hardly wait for your website to go live and look at
all the dolls!

May 2003 give everyone a chance to do what they really want to do if they don't
do it yet.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Wed, 1 Jan 2003 12:14:50 +0000 (GMT)
Status: RO

 --- MaryAnn Jones <mabse@attbi.com> wrote: >
> I can't imagine living in an early 18th century house.  Just think, the 
> people who lived there initially wore clothes like the ones that Bjorne 
> makes, except probably less fancy. 

Actually, when it was built they wore clothes like my mantua! It may be early
18th century in date but it's late 17th in style. The big change both in
fashion and architecture came after Queen Anne's death in 1714 and with the
succession to the throne by George I and the German House of Hanover. Neither
he nor his son Geirge II bothered to learn English. Sheesh! ;-)

 Maybe he should come visit you and hold 
> seances and connect with the spirits of the 18th century occupants and get 
> their opinion on clothing.

Oh trust me Maryann, I wish that were possible. :-))))

We do have a ghost, so everyone says, but she is late 18th century as far as I
know. Her name is Yvonne, a girl of 17 or so, but then again she hasn't been
seen since she saved Ben's life when he was a child.
Well, that's what I've been told anyway, so I retell it without passing
judgment.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Wed, 01 Jan 2003 09:28:56 -0700
Status: RO

Hey, same to you, Penny! and to everyone else!
I have the whole day off....and I got to sleep in, and now I get to do
some costuming <g>....Cleaning out/finishing up old stuff so I have room
for my new projects!
--Sue, from a sunny (!!!) and cold Missoula, Montana

Penny Ladnier wrote:
> 
> Welcome to 2003 from Chesterfield, Virginia!!!!!!!!
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Date: Wed, 1 Jan 2003 11:47:43 EST
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If there is a secret to these gowns I'd have to say its creating and fitting 
the understructure and draping the gown onto that. Note the boned under 
bodice on page 380. Get that done and out of the way and start draping onto 
this foundation. Notice how everything sorta hangs from the raised waist. The 
laces and fabrics of this era are very very light. Nothing should be crisp. 
The funky closing is that way as to defy the observer into just how you got 
into this gown. It should all look like it just fell into place on your bod.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">If there is a secret to these gowns I'd have to say its creating and fitting the understructure and draping the gown onto that. Note the boned under bodice on page 380. Get that done and out of the way and start draping onto this foundation. Notice how everything sorta hangs from the raised waist. The laces and fabrics of this era are very very light. Nothing should be crisp. The funky closing is that way as to defy the observer into just how you got into this gown. It should all look like it just fell into place on your bod.</FONT></HTML>

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Subject: [h-cost] Costuming over the holidays
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Date: Wed, 01 Jan 2003 12:48:38 -0500
Status: RO

I've been working on a loose goun after Herjolfsnes no. 63, early fifteenth century.
Katherine Gillesfleur (alphabet soup) gave a class on this garment at a wonderful costume symposium in New Jersey nearly a
year ago now, & I've finally cut out the garment and sewn the main body seam.

You may be amused to hear where I actually cut out the garment:
I attended a science fiction convention in Philadelphia (Philcon) December 13-15 last year.  The hotel is large and has many
levels of public spaces.  On the top level of huge open space, I spread out large pieces of cloth & marked them with chalk
line.
One garment that I marked was for a friend, a long tunic based on the Bocksten bog man's tunic, a cote and surcote for me,
also based on the Bocksten find, and my H-63 redaction.

I'm female, so I played around with the numbers a bit from the real goun to make a long gown.
For a 60" width of fabric and a 60" length (a bit generous), I can get four right trapezoids, the narrow ends of which are 7"
wide & the wide bits 23".  This is the same angle of flare that the original had, where a length of 95-103 cm (37.4-40.5")
has a hem circumference of 300 cm (118") (all measurements from I. Marc Carlson's page on the garment:
http://www.personal.utulsa.edu/~marc-carlson/cloth/herjol63.html  ).

The trapezoids get sewn together, two straight edges in front, then straight to bias on each side, and finishing up with a
bias to bias seam center back.
Then the armholes and neck holes are cut out.  Both should be fairly close, for an outer garment.
A small standing collar is added at the neckline.

ascii pattern sketch with inches measurement:  two of these for the body
60"---------------------->
I   \            I           /   I    60"
I    \           I         /     I      |
I     \          I        /      I      |
I       \        I       /       I      |
I        \       I      /        I      |
I          \     I     /         I      |
I            \   I    /          I     V
----------------------------
  23          7  7      23


The original is buttoned closely above the waist, where the most stress on the garment is, and has another group of buttons
(or perhaps just buttonholes) about 2/3 of the way between waist and hem.
How my buttons will be made and spaced depends largely on how many I make.  How to make them has been covered fairly recently
on this group, so I have few worries about that.

The material I am using is a light weight wool crepe, which may be either the overspun threads in tabby weave or the broken
twill crepe.  If I have enough left over from the garment, I'll try raveling a piece & seeing which it is.
Likely not an accurate material for the 15th century; the original is a "medium stout fourshaft twill with a black warp and a
brown weft." (Carlson op cit.)

Did I mention the color?  Purest bright lapis blue; also Very unlikely.


Baroness Katherine suggested a possible English fishing fleet origin for the body, which is one of a very few very late
bodies in the Herjolfsnes graveyard.  She suggested that the century between the earlier and the later is when the colony
actually died out, & a ship just put in to bury its dead.


Ann in CT


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] What costumey did you sew/make over the holidays?
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Date: Wed, 01 Jan 2003 08:25:10 -0800
Status: RO


> > And here I am, at the tender age of 53, and I finally think I have found
> > what I really want to do - designing and making cloth dolls.
> >
>To say/sing it with Steppenwolf:
>
>It's never too late to start all over again!
>
>Good luck Kayta, and I can hardly wait for your website to go live and look at
>all the dolls!

It will be funstuft.com .  I'm getting the dolls, graphics, and html 
together now, and as soon as I can get to the site from this machine, I 
will start building.

Of course I'll have to make some space for the historical costumes I have 
made.  Aside from the few of you who have actually met me, nobody on this 
list has seen any of my work.  I have photos of historicals I made as far 
back as 1971, before I had ever seen Janet Arnold's books (when were they 
published?).  Since I am more visual than verbal, many of these have the 
right shape but are made of totally incorrect fabrics.  And since I am 
mostly self-taught, many date from before I discovered the concept of 
lining things.  I think I have done my best work in the last ten years 
(having been on h-costume has been a great help), but I have few pictures 
of any of my later work (I will have to remedy that).

Kayta

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Date: Wed, 01 Jan 2003 07:14:28 -0800
Status: RO


>  Maybe he should come visit you and hold
> > seances and connect with the spirits of the 18th century occupants and get
> > their opinion on clothing.
>
>Oh trust me Maryann, I wish that were possible. :-))))
>
>We do have a ghost, so everyone says, but she is late 18th century as far as I
>know. Her name is Yvonne, a girl of 17 or so, but then again she hasn't been
>seen since she saved Ben's life when he was a child.
>Well, that's what I've been told anyway, so I retell it without passing
>judgment.

One of my daughters saw a ghost once, when she was about 5 or 6.  It was 
the ghost of someone who had been a house guest at our place about a year 
before.  To this day she is certain she saw the ghost (who told her he was 
OK where he was and that she shouldn't worry about him).  She was able to 
describe what he was wearing, and said she could see right thru him 
anyway.  I didn't see the ghost, so I can't be primary-source certain, but 
I am inclined to believe my child saw something.

Kayta

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From h-costume-admin@indra.com  Wed Jan  1 14:27:30 2003
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Subject: [h-cost] Liberty's London Fabric Sale
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Date: Wed, 1 Jan 2003 19:32:40 -0000
Status: RO

Hi all,
anyone in reach of Liberty, London might like to know that they are
now selling off all of their non-Liberty fabrics at 75% off. As far as
I can tell they intend to sell only Liberty fabrics in future; all the
space which used to be taken up by a selection of the world's finest
fabrics is being turned over to 'crafts' supplies.
Numerous expletives deleted...
best wishes
Stevie

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From h-costume-admin@indra.com  Wed Jan  1 14:33:32 2003
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Date: Wed, 01 Jan 2003 12:35:13 -0700
Status: RO

Hey, Penny! That's the best news I've heard in a long time! I know how
wretchedly frustrating it can be to be in pain, and not able to do the
things you love!
Glad you're feeling better, and back to hanging around on the
list...it's awfully quiet without you!
--sue, doing a little new year's "happy dance" for you....

Penny Ladnier wrote:
> 
> I am so thrilled!!!  All I wanted for Christmas was to be able to work
> without pain again.  I think I have ***IT*** back.   Last summer I had two
> degenerative diseases hit me hard.   My doctor started me on some new meds
> two weeks ago... I tested myself  Saturday to work on a project that I
> started last summer. (I cleaned the images then.) I wanted to do the project
> all by myself to see if I could do it.  I finished the project just a few
> minutes ago!!!  In three days!!!!  70 webpages!!  I am so excited I could
> cry.  My heart was broken when I couldn't work
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From h-costume-admin@indra.com  Wed Jan  1 15:41:25 2003
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Subject: [h-cost] Henrietta Maria query- 17th century
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Date: Wed, 1 Jan 2003 20:46:31 -0000
Status: RO

Hi,
Can anyone please tell me how much satin would have been used in
creating the famous green pearl strewn gown of Henrietta Maria?
See a copy of this at
http://freespace.virgin.net/henriettas.restaurant/henriett.htm

best wishes
Stevie






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From h-costume-admin@indra.com  Wed Jan  1 16:02:34 2003
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Subject: [h-cost] Moire fabric
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Date: Wed, 1 Jan 2003 13:04:02 -0800
Status: RO

I am curious about the date of the appearance of moire silks in the 
Near and Middle East... anyone have any information? I've seen a 
picture of an Ottoman garment from the 17th century made with apple 
green moire silk, and i'm wondering at the possibility of it being 
used in the 16th century...

Anahita
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From h-costume-admin@indra.com  Wed Jan  1 16:10:29 2003
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Subject: Re: [h-cost] French Seams?
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Date: Wed, 1 Jan 2003 13:12:16 -0800
Status: RO

One reason i asked about French seams is that i'm in the process of 
making a 16th century Ottoman woman's outfit.

A woman's gomlek is a white undertunic. As far as i have been able to 
determine, they were made of sheer cotton or silk. None seem to have 
survived, as far as i can tell, and paintings only show the hem (most 
only the very bottom, but some from the mid-thighs down) and sleeves 
(some from elbows to wrist) and a bit of the neckline. So i'm 
guessing at the upper sleeve shape and the construction of body from 
shoulder to mid-thighs.

I've based my shape on a surviving 14th century Persian kamiz (white 
cotton undertunic) in a Central Asian/Turkic style - and Persian 
garments after the Mongol invasion and until the end of the Safavid 
dynasty, show much Turkic influence. One of its distinctive features 
is that the side gores are gathered to the bottom of the longish 
underarm gussets at or just a tiny bit above the waist line.

The one i've made is very fine, very sheer, very light-white cotton. 
Because i'm making this in something of a rush - i need to leave this 
Friday around noon and will be wearing it Saturday - i've serged the 
edges - being a costuming procrastinator, i didn't start my outfit 
until last weekend. I don't know why i do this; i always plan many 
months ahead for the historical feasts i cook.

This was a prototype garment. I'm actually quite pleased with how it 
turned out - it's a lovely shape, filmy and gossamer - although i 
need to make a couple very minor adjustments the next time. I'd like 
to finish the next one in a more historically accurate manner. 
However, none appear to have survived from the 16th c., so i can't 
tell what they actually did.

French seams are, in my opinion, the nicest for fine sheer fabrics, 
but since they appear to be too late in time, i wonder what would be 
an effective, more historically accurate solution. I'm guessing hand 
turning every raw edge and running stitching them... Any other 
suggestions?

Thanks,
Anahita

Now back to fine-tuning the skirt on the hirka (short under jacket) - 
then on to the entari (long outer coat)...
I got the narrow-ankled silk sarwal done, but i've been making them 
for a couple years, so i have most of the "bugs" out of the process
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From h-costume-admin@indra.com  Wed Jan  1 16:32:35 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] French Seams?
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Date: Wed, 1 Jan 2003 21:33:17 +0000 (GMT)
Status: RO

 --- lilinah@earthlink.net wrote: > 

> French seams are, in my opinion, the nicest for fine sheer fabrics, 
> but since they appear to be too late in time, i wonder what would be 
> an effective, more historically accurate solution. I'm guessing hand 
> turning every raw edge and running stitching them... Any other 
> suggestions?

Well, the one that I talked about IS a good seam for fine and sheer fanrics. I
use it all the time for fine linens and have used it for semi transparent
modern fabrics. All you see on the outside are the fine dots of the slip stitch
that holds the folded inside excess from the seam. (I know that was a terible
verbal description)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Henrietta Maria query- 17th century
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Date: Wed, 01 Jan 2003 14:41:17 -0700
Status: RO

Gawd, that's a beautiful dress....*sigh*
I've seen the portrait before, but not in color.
I think how much fabric you'd use would depend on your size, and the
width of the fabric.
I'm short, but wide, so I'd need [going with 45" wide fabric]:
(clickety, clickety, hummmmm)
4 yds or so for the skirt--maybe up to a yard more, if I wanted some of
that puddle-on-the-floor effect
Maybe another 3 yds or so for the sleeves and bodice--depending on how
"directional" the fabric is.
Bjarne probably has a better idea, or maybe Nicole?
--sue, wishing *she* got to do Cavalier.....

Stevie Gamble wrote:
> 
> Hi,
> Can anyone please tell me how much satin would have been used in
> creating the famous green pearl strewn gown of Henrietta Maria?
> See a copy of this at
> http://freespace.virgin.net/henriettas.restaurant/henriett.htm
>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Henrietta Maria query- 17th century
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Date: Wed, 1 Jan 2003 21:51:29 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > Gawd, that's a beautiful
dress....*sigh*
> I've seen the portrait before, but not in color.
> I think how much fabric you'd use would depend on your size, and the
> width of the fabric.
> I'm short, but wide, so I'd need [going with 45" wide fabric]:
> (clickety, clickety, hummmmm)
> 4 yds or so for the skirt--maybe up to a yard more, if I wanted some of
> that puddle-on-the-floor effect
> Maybe another 3 yds or so for the sleeves and bodice--depending on how
> "directional" the fabric is.
> Bjarne probably has a better idea, or maybe Nicole?
> --sue, wishing *she* got to do Cavalier.....
> 

Stevie, are you talking about modern day fabric widths?
The Imperial taffeta I always use comes in appr. 1.40 m wide. Thus I would use
three times the length for the skirt, say around 1.10 per length for my long
legs, that makes 3.30 meters. Then I flounder a bit as usual, I wonder if 1.70
would do for bodice and wide sleeves, seems in this width it would, but Bjarne
is the one to ask. that would make 5 meters. I can't remember for the life of
me how many meters I got for the 1660's dress. Bjarne? Was it more than 5
meters?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Henrietta Maria query- 17th century
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Date: Wed, 1 Jan 2003 22:09:18 -0000
Status: RO

Sue wrote:

 Re: [h-cost] Henrietta Maria query- 17th century


> Gawd, that's a beautiful dress....*sigh*
> I've seen the portrait before, but not in color.

It is, indeed, and I'm glad to have pointed you in the direction of a
colour version. It is magnificent:-)

> I think how much fabric you'd use would depend on your size, and the
> width of the fabric.
> I'm short, but wide, so I'd need [going with 45" wide fabric]:
> (clickety, clickety, hummmmm)
> 4 yds or so for the skirt--maybe up to a yard more, if I wanted some
of
> that puddle-on-the-floor effect
> Maybe another 3 yds or so for the sleeves and bodice--depending on
how
> "directional" the fabric is.

Thank you for the ball park figure; I am hopeless at estimating
yardages and the sell-off of the Liberty fabrics is a once in a
lifetime opportunity. Their duchesse satin is Indian, slightly thinner
than the very stiff stuff, and I think it would drape in much the same
way as the portrait.

> Bjarne probably has a better idea, or maybe Nicole?
> --sue, wishing *she* got to do Cavalier.....

Well, if they show up I'll be grateful for their advice too, but I'll
be heading back to Liberty's tomorrow morning  so your help is very
welcome. I've already bought a lot of fabric, including some beautiful
wools- note h-cost influence, there- but fabric will keep indefinitely
if stored well, so I'm buying it while I've got the chance.

best wishes
Stevie

> Stevie Gamble wrote:
> >
> > Hi,
> > Can anyone please tell me how much satin would have been used in
> > creating the famous green pearl strewn gown of Henrietta Maria?
> > See a copy of this at
> > http://freespace.virgin.net/henriettas.restaurant/henriett.htm
> >
> _______________________________________________
> 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 Jan  1 17:27:26 2003
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Date: Wed, 1 Jan 2003 22:22:55 -0000
Status: RO

Nicole,

> Stevie, are you talking about modern day fabric widths?

Yes, but I can usually convert 45-60 inches without too much
difficulty:-) It's the notion of how many yards/metres in total for
any particular gown which I have problems with:-(

> The Imperial taffeta I always use comes in appr. 1.40 m wide.

Which is the width of the Liberty's duchesse satin, so it would be the
same amount in total.

>Thus I would use
> three times the length for the skirt, say around 1.10 per length for
my long
> legs, that makes 3.30 meters. Then I flounder a bit as usual, I
wonder if 1.70
> would do for bodice and wide sleeves, seems in this width it would,
but Bjarne
> is the one to ask. that would make 5 meters. I can't remember for
the life of
> me how many meters I got for the 1660's dress. Bjarne? Was it more
than 5
> meters?

Well, Bjarne is probably chained to his embroidery frame, but between
you and Sue I have a much better idea of what I need. I am never going
to get a cheaper good quality heavy silk satin, so I'm buying now.

many thanks and best wishes
Stevie

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Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Thu, 2 Jan 2003 00:15:07 +0000
Status: RO

Its a lovely lovely example Ella.
Light purple as in mauve,lavender etc are fine - Queen Mary made them 
very popular pastel shades but theres nothing wrong using any stronger 
tone than a pastel for 1913.
Your foundation garment is ABSOLUTELY vital if you wish to carry off the 
historic silhouette of this gown,also remember that the skirt is narrow 
and hobbled so you will have to move with very small steps.

Not following late Edwardian fashions I don't know if you will easily 
locate a pattern.Try the Sears and Roebuck publications they have a few 
books around the time of the First World War.Perhaps someone on the List 
might have a pattern for you.Its a deceptively simple gown with very 
serious structuring of the bodice lining under all that drapey graceful 
lace and tulle - and the draped over skirt you may well have to cut/sew 
in position which can be done.

Have courage it'll look amazing when you've finished it.I do have some 
ref. books on very late Victorian construction if you want me to dip 
into them for you.

Best,

Marcus.


On Wednesday, January 1, 2003, at 11:51  am, Ella Lynoure Rajamaki wrote:

>
> I'm about to start making a dress that makes me very nervous, because 
> it's
> from an era I'm not very familiar with and because it's going to be my
> wedding dress. It's going to be a copy of the dress on pages 377 to 380 
> of
> Costume in Detail 1730-1930, but I'm considering using light purple 
> colour
> instead of light blue.
>
> Could somebody give me hints about dressmaking or pattern making of that
> era? E.g. does a "close enough" pattern already exist?
>
> --
> Lynoure Rajamaki
> lynoure@tuug.fi
>
> _______________________________________________
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Date: Thu, 2 Jan 2003 00:27:23 +0000
Status: RO


On Wednesday, January 1, 2003, at 09:12  pm, lilinah@earthlink.net wrote:

> One reason i asked about French seams is that i'm in the process of 
> making a 16th century Ottoman woman's outfit.

> manner. However, none appear to have survived from the 16th c., so i 
> can't tell what they actually did.
>
> French seams are, in my opinion, the nicest for fine sheer fabrics, but 
> since they appear to be too late in time, i wonder what would be an 
> effective, more historically accurate solution. I'm guessing hand 
> turning every raw edge and running stitching them... Any other 
> suggestions?

Anahita,I can't answer your question with complete authority since the 
only examples of Indian garments I've been able to examine closely - 
date from the early and mid 18thC.Some of the finer weight cottons don't 
survive well and those that I've examined date from the early 19thC.

The very fine fabric always has minute hems - very very tightly turned 
over and running stitch.Its so narrow a turn-over it looks like a rolled 
hem for a Western hanky.The stuff I checked out in the States and here 
measured about 2mm hemming.

Good luck,

marcus.

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Date: Wed, 01 Jan 2003 18:30:30 -0500
Status: RO

Hi. All of the representations of GIIA that I have ever seen show him
right-handed. All of the representations of the garment in question that I have
seen (see previous posts) are fastened in the same place. Also, the term
"cassock", although used in the 17th Cent., has taken on other meanings from
what it may have once meant to folks back then. From a practical aspect, seeing
as the doublet is rather tight-fitting, and the "cassock" over it tight-fitting
also, it would not be likely that the King would wear a baldric over the
doublet and under the cassock. I believe that we moderns have a varied view of
the wearing of sidearms than folks back then. The King of Sweden, unless
intending to appear very bellicose at a public function, would most likely not
be wearing his sword. He had his Trabanten to protect his person. In addition,
though, he had been wounded in the neck at Dirschau in 1627, and didn't wear
armor thereafter, and complained of a difficulty in using his right arm.
Further analysis of things such as his handwriting might shed some light on his
handedness, although, as I mentioned, I have seen other representations of the
same garment, fastened on the same side. Cheers, Mike T. (and a Happy New Year
to All)



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Date: Wed, 01 Jan 2003 18:35:09 -0500
Status: RO


Okay, I'll bite -- what's the story of the ghost?

Gail Finke


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: nicole's ghost
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Date: Wed, 1 Jan 2003 23:52:32 +0000 (GMT)
Status: RO

 --- Gail & Scott Finke <gailscott@eos.net> wrote: > 
> Okay, I'll bite -- what's the story of the ghost?

Gail I really don't think I can make that costume related, other than the
pictures drawn by a medium in 1970s seances, that show the girl in costume, and
what the Gypsy cleaning lady saw, so I'll mail you privately tomorrow.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: kat@grendal.rain.com
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Date: Wed, 01 Jan 2003 16:03:52 -0800
Status: RO


>  --- lilinah@earthlink.net wrote: > 
> 
> > French seams are, in my opinion, the nicest for fine sheer fabrics,
> > but since they appear to be too late in time, i wonder what would be
> > an effective, more historically accurate solution. I'm guessing hand
> > turning every raw edge and running stitching them... Any other
> > suggestions?
Nicole replied:
> Well, the one that I talked about IS a good seam for fine and sheer
> fanrics. I use it all the time for fine linens and have used it for
> semi transparent modern fabrics. All you see on the outside are the
> fine dots of the slip stitch that holds the folded inside excess from
> the seam. (I know that was a terible verbal description)

She describes it better than I can, but if you want to see diagrams, 
look in Clothing and Textiles (the MOL book). This is what I use all 
the time on my sheers (like on my black silk organza shrug that went 
with my reunion dress as well as on my historical dresses.) It keeps 
the fabric from raveling and fraying, as well as looking nice.

In another post  lilinah@earthlink.net wrote: 
> One reason i asked about French seams is that i'm in the process of
> making a 16th century Ottoman woman's outfit.

Have you looked at the stitching methods in the Topkapi Museum 
textile collection book? It has some 16th C garments so that you can 
get an idea about how they have done it (for the future, since you 
said that you've already serged this one.)

For this one, you can do a modified version of the run-and-fell 
(which was also used pre1600) where you press all the seam allowance 
to one side then stitch close to the seam through all 3 layers. This 
will help keep the garment from pulling the serging out (and the 
serging will keep the edges from fraying so much.) This kind (unlike 
the slipstitched method) can be done on the sewing machine for the 
hand-impaired or time-limited.

Kat Russell
<kat@grendal.rain.com>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] What costumey did you sew/make over the holidays?
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Date: Wed, 1 Jan 2003 20:26:24 -0500
Status: RO

On Tuesday 31 December 2002 08:27 pm, Margo Anderson wrote:
> A One is never too old to make a complete U-turn in one's
>
> >> career. :-))))
> >>
> >> Nicole - who FINALLY realised what she really, really wants to do, at
>
> the age
>
> >> of almost 34.
>
> Nicole, you're a mere child!  I was 43 when my life's work became apparent.

I *am* 43 and my life's work has yet to become apparent.  :-)

> Of course, I had my mother's example to look to;  she decided at the age of
> 37 to become a lawyer.  Which was no small undertaking for a married woman
> with three children, in a small town 50 miles from the nearest law school,
> in 1968.  She did it, though, and is still practicing, and one of the few
> lawyers I know who actually loves her work. 

I *am* a lawyer.  And although being one can be fun at times, it's still not 
quite what I wanted.

Though everyone's mileage varies.  My boss has a PhD in English literature and 
a teaching position... and he chucked it all to go to law school.  He is now 
a well-respected litigator and, like Margo's mother, really loves his work.

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Wed, 1 Jan 2003 20:31:29 -0500
Status: RO

On Tuesday 31 December 2002 08:56 pm, michaela wrote:
> > If he is all white, he may have been born Deaf.  Discipline him with a
> > water squirt bottle or squirt gun, because he won't hear your frantic
>
> cries
>
> > of 'get off my fabric!'.  You could also use a rolled up sock to throw at
> > him, same purpose.  Pounding on something near him, where he can feel the
> > vibrations, may get his attention.  He won't be able to hear the can
>
> opener
>
> > work, but he will be able to smell the cat food (you probably know that
> > by now).
>
> Yeah:) I had a good search of the web and found a page to work out just how
> deaf he is (he actually has green in his eyes, and our first white cat had
> green eyes and could hear) 

Supposedly it's the blue-eyed all-white cats who are deaf.  

> He can't hear high pitches (jaggling keys) nor
> low pitches (likes hte vacuum cleaner...) but he is learning to feel
> vibrations when I stamp the floor or bang on the dresser where he gets fed.

Interesting.  So maybe the green-eyed white cats only have impaired hearing.  
I wonder if the impairment is in proportion to how much blue is in their eye 
color....



> Unfortunately he likes things being thrown at him and thinks it's a game;)
> And he's not too shy of water. I'm going to try and find just what stream
> and temp of water though will work as my drink bottle with a sipper top is
> more fun for him than anything;)

A fairly aggressive mist from an actual spray-mist bottle works on my cat.  If 
you get one that has the option of shooting a stream of water as well as 
mist, you can experiment.



> Heck he even likes to nibble my pin cushion with all the lovely spikey
> needles in it;)

That's different.  Some cats are just naturally attracted to dangerous objects 
in general.  I have a friend whose cats, back when they were kittens, cut 
themselves up badly by playing with safety razors (the disposable kind with 
unremovable blades...).

Good luck in training your furry handful.



-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Subject: Re: [h-cost] Re: nicole's ghost
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Date: Wed, 01 Jan 2003 18:13:24 -0700
Status: RO

Me, too?
--sue

N Kipar wrote:
> 
>  --- Gail & Scott Finke <gailscott@eos.net> wrote: >
> > Okay, I'll bite -- what's the story of the ghost?
> 
> Gail I really don't think I can make that costume related, other than the
> pictures drawn by a medium in 1970s seances, that show the girl in costume, and
> what the Gypsy cleaning lady saw, so I'll mail you privately tomorrow.
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Subject: [h-cost] Transfer paper for Laserjets?  Help
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Date: Wed, 1 Jan 2003 18:17:58 -0700
Status: RO

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Does anyone here have any experience with laserjet transfer papers?  I
am looking for the kind that you iron on to fabric after it is printed.
I see lots of stuff for inkjets, but not laser.
Sg
 

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<div class=3DSection1>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Does anyone here have any experience with <span
class=3DSpellE>laserjet</span> transfer papers? <span
style=3D'mso-spacerun:yes'>&nbsp;</span>I am looking for the kind that =
you iron on to
fabric after it is printed.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I see lots of stuff for inkjets, but not =
laser.<o:p></o:p></span></font></p>

<p class=3DMsoAutoSig><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
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Date: Mon, 30 Dec 2002 01:43:42 -0500
Status: RO

Greetings All!

I know I saw a pattern critique of various patterns avialable out there, but I am having trouble finding it now, can anyone help?

Thanks,
Kit
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From: Kirrily Robert <skud@infotrope.net>
Subject: [h-cost] Victorian underpinnings and erotic photography
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Date: Sun, 29 Dec 2002 23:27:04 -0500
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As the subject line suggests, this message involves adult themes.  If
this bothers you, please skip this message.

I was looking for Victorian-era "French postcards" (i.e. erotic/nude
photography) and came across a site with some fairly explicit
photographs apparently dating to the late 19th century.  However, this
isn't my period, so I was wondering if anyone here would like to take a
look at the site and tell me what you think of their clothes (mostly
you'll see underpinnings, both male and female, as well as some outer
garments on the men) and whether you think the pictures are authentic,
and when you'd date them to.

The website is: http://www.insenses.org/virtualboxon/index.htm
Of course this site contains ADULT CONTENT and is actually quite
explicit, moreso than the average Victorian nude photos.  You have been
warned.  But please, if you are into that sort of thing and would like
to take a look, let me know what you think of the clothes.

Feel free to respond off-list if you would prefer.

Yours,

Kirrily
(SCA: Katherine Rowberd)
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Date: Sun, 29 Dec 2002 19:07:25 EST
Status: RO


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Greetings All!

Can anyone tell me anything about Ageless Patterns?  I am a little leary of 
them since they label themselves as "Historic Costumes for Theatrical 
Costumers".

Thanks,
Kit

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Greetings All!<BR>
<BR>
Can anyone tell me anything about Ageless Patterns?&nbsp; I am a little leary of them since they label themselves as "Historic Costumes for Theatrical Costumers".<BR>
<BR>
Thanks,<BR>
Kit</FONT></HTML>

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Subject: [h-cost] Need Source for Journals, Dissertations, etc.
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Date: Mon, 30 Dec 2002 22:32:38 -0500
Status: RO

Hey People,
I have a book source-related question...
Does anyone know of a web site (or actual store) that sells
doctoral dissertations &/or scholastic journals?
I am looking for a specific issue of  "Theater Journal" in either paper
or downloadable form for personal research. One site has it
for download (muse.jhu.edu), but it isn't available to the general
public
for some reason. Let me emphasize here that I am NOT looking
for one of those silly companies that sells pre-written 'term papers'
for cheating in college or whatever. I did a Google search & plenty of
those came up....that is not what I'm looking for.
There used to be this *one* site I knew of called contentville.com,
that sold journals, etc., but it has gone under. That was the only site
I knew of that with journals.
Well, anyway, if anyone knows of a place...please share the wealth??
I am pretty bummed about contentville going under :(
Thanks!
Deb R.



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Subject: [h-cost] Canadian farmers
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Date: Wed, 01 Jan 2003 18:01:02 -0700
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I will be designing costumes for a play soon that deals with Canadian
farmers in Ontario in the 1970s.  While I imagine their clothing wouldn't be
much different from American farmers, I would love to be able to research
this a little but I haven't a clue where to find any pictorial info.  Anyone
out there from Canada or anyone with any ideas?

Sylvia Rognstad

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Subject: Re: [h-cost] Re: nicole's ghost
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Date: Wed, 1 Jan 2003 20:51:55 EST
Status: RO

Nicole---
I happen to also be very very interested in this as well---could you also 
mail me privately---
thanks  so very much---
Albra
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Subject: Re: [h-cost] Victorian underpinnings and erotic photography
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Date: Wed, 1 Jan 2003 18:11:48 -0800
Status: RO

My GOODNESS!  Yes, for those easily shocked, be warned that these
photographs are (ahem) action shots.  They're actually quite hilarious -- am
I the only one who thinks the boy in the first few groups looks about 12?

Unfortunately, I'm not too sure of the date on the clothing -- the pompadour
hairstyles on the women make me think 1900-1905ish, but that's just a guess.
The girl in Chambre 5 appears to be dressed in children's clothing (well,
clothing for a pre-teen girl) -- I wonder if that might give us any hints?

- Kendra

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Date: Wed, 1 Jan 2003 19:14:47 -0700
Status: RO

Me too-

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of AlbraKat@aol.com
>Sent: Wednesday, January 01, 2003 6:52 PM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Re: nicole's ghost
>
>Nicole---
>I happen to also be very very interested in this as well---could you
also
>mail me privately---
>thanks  so very much---
>Albra
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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Date: Wed, 1 Jan 2003 18:16:40 -0800
Status: RO

Are you thinking of the Greater Bay Area Costumer's Guild's _Great Pattern
Review_?

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

- Kendra

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Date: Wed, 1 Jan 2003 18:15:53 -0800
Status: RO

Deb,

Many public libraries offer interlibrary loan services, usually for a fee.
If there's a college or university in your area, you can also drop by and
have access to their electronic resources on site -- I'm a librarian at USC,
and I know we let anyone use our electronic databases (eg Project Muse) when
they're physically in our library (you have to be a current student, faculty
or staff to use them off-site, however).

- Kendra

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Victorian underpinnings and erotic photography
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Date: Wed, 1 Jan 2003 22:48:25 -0500
Status: RO

On Sunday 29 December 2002 11:27 pm, Kirrily Robert wrote:
> As the subject line suggests, this message involves adult themes.  If
> this bothers you, please skip this message.
>
> I was looking for Victorian-era "French postcards" (i.e. erotic/nude
> photography) and came across a site with some fairly explicit
> photographs apparently dating to the late 19th century.  However, this
> isn't my period, so I was wondering if anyone here would like to take a
> look at the site and tell me what you think of their clothes (mostly
> you'll see underpinnings, both male and female, as well as some outer
> garments on the men) and whether you think the pictures are authentic,
> and when you'd date them to.

Actually, I'd guess about a decade earlier than Kendra, judging from the hair.  
1890's or so.  Though I freely admit that I'm not expert in the period and 
that they could be fakes.

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Re: nicole's ghost
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Date: Thu, 2 Jan 2003 15:06:30 +1100 (EST)
Status: RO

 --- AlbraKat@aol.com wrote: > Nicole---
> I happen to also be very very interested in this as
> well---could you also 
> mail me privately---
> thanks  so very much---


Umm...me too...please?


Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Date: Wed, 01 Jan 2003 20:15:47 -0800
Status: RO


>  --- AlbraKat@aol.com wrote: > Nicole---
> > I happen to also be very very interested in this as
> > well---could you also 
> > mail me privately---
> > thanks  so very much---
> 
> 
> Umm...me too...please?

Sigh. At this rate you might as well send it to the list. ;)

But if you could include me on that *long* list of "me toos" I would 
appreciate it.

Kat Russell
<kat@grendal.rain.com>

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Date: Wed, 01 Jan 2003 22:16:36 -0700
Status: RO

Hey, as long as she describes what the ghost is *wearing,* that'd
_sorta_ count as Obligatory Costume Content, wouldn't it?
--sue, already on the "me, too" list ;-D

kat@grendal.rain.com wrote:
> 
> >  --- AlbraKat@aol.com wrote: > Nicole---
> > > I happen to also be very very interested in this as
> > > well---could you also
> > > mail me privately---
> > > thanks  so very much---
> >
> >
> > Umm...me too...please?
> 
> Sigh. At this rate you might as well send it to the list. ;)
> 
> But if you could include me on that *long* list of "me toos" I would
> appreciate it.
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Date: Wed, 01 Jan 2003 22:47:11 -0700
Status: RO

I tried a couple of those (using the variants that Arnold has in the
front section of her book).  I just ended up with weird fullness in the
underarm section.  Of course, I was using scrap cotton to test the
patterns--not very heavy or thick or stiff, any of which might make a
difference.  It's definitely something I'd like to figure out, though. 
There are a number of 16th c. gowns that have that sort of fullness at
the top of what's obviously a one-piece sleeve.
--sue, winnowing out old emails

> On Mon, 9 Dec 2002, Dhannti wrote:
> 
> >
> >
> > Drea Leed wrote:
> > >
> > > Hm.  It's hard to tell with all the black and the gold trim on top, but it
> > > may have been accomplished using a pattern like that at
> > > http://costume.dm.net/Tailors/pages/f87L.html
> > >
> > > The extra fabric for the puff is added to the underseam side, so when the
> > > sleeve is gathered at the top, it has an interesting puff.
> > >
> >
> > Thank you for the link I'm going to try it with a mockup. I'll let you
> > know how it works out.
> >
> > Di
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Date: Thu, 2 Jan 2003 07:51:11 -0000
Status: RO

>French seams are, in my opinion, the nicest for fine sheer fabrics,
but since they appear to be too late in time, i wonder what would be
an effective, more historically accurate solution. I'm guessing hand
turning every raw edge and running stitching them... Any other
suggestions?

Blanket stitch (or buttonhole stitch) appears very early as a finishing
technique, also another overcast stitch, I'll try & look it up. If you arn't
sure what I mean by the terminology I'll try a pic :)

Mel

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Subject: Re: [h-cost] Re: nicole's ghost
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Date: Thu, 2 Jan 2003 23:12:43 +1300
Status: RO

> Sigh. At this rate you might as well send it to the list. ;)
>
> But if you could include me on that *long* list of "me toos" I would
> appreciate it.

lol! Yep, and if she doesn't send it to the list can I add a me too here as
well...

michaela


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Date: Thu, 2 Jan 2003 05:35:18 -0500
Status: RO

And me!

Dianne
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 01, 2003 11:15 PM
Subject: Re: [h-cost] Re: nicole's ghost


> 
> >  --- AlbraKat@aol.com wrote: > Nicole---
> > > I happen to also be very very interested in this as
> > > well---could you also 
> > > mail me privately---
> > > thanks  so very much---
> > 
> > 
> > Umm...me too...please?
> 
> Sigh. At this rate you might as well send it to the list. ;)
> 
> But if you could include me on that *long* list of "me toos" I would 
> appreciate it.
> 
> Kat Russell
> <kat@grendal.rain.com>
> 
> _______________________________________________
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Subject: [h-cost] Nicole's 'Costumed' ghost story
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Date: Thu, 2 Jan 2003 11:04:54 +0000 (GMT)
Status: RO

Okay, okay, I get the hint, sorry for having created a flurry of me too mails
*grins*

Please delete this mail if such contents of the supernatural might disturb you.
The below is a tale that I was told by several and it is up to everyone else to
believe it or delete it or not.

The following is what I was told by Colin, who was part of the seance and other
bits. I pass no judgement, everyone make out of the following what they wish. I
have to start saying that Colin is the child of a mother who was the thirteenth
child of a thirteenth child and whose family was gypsie. He seems to be prone
to the sixth sense due to other things happening in his life, and I have no
reason whatsoever not to believe what he told me. Also, his wife told me the
same stories when she was alive, she was part of all of these things too.

Let's get out of the way with the thin veil of costume reference: at the seance
in the 1970s the medium drew pictures as if she were Yvonne, one of herself,
and the shape of the clothing suggests 19th century, it's the bell shaped skirt
and small hairdo, bun in the back type. I know nothing about the period, so I
really don't know from when that would be. She also drew pictures of the
'muffin man' that was a street seller who would come and sell muffins, and
Yvonne apparently liked those very much and it was one of her few enjoyments.
She was house-bound because she was ill, a degenerative illness it seems, she
couldn't walk, and she died, I think at the age of 17 or thereabouts. 

Now, I have to start at the very beginning, and that is before Colin and Sue
(Ben's mother) ever met, each of them independantly had seen the house no 2
Prospect Row and said 'one day I will live in it' because they liked it so
much. They were mightily surprised when they found out once they met, that they
both wanted that house. The family who lived in the house before Colin and Sue
had lost a daughter, at the same age as Yvonne, at 17, and suddenly, she had
meningitis. This was such a trauma for the family, naturally, that they wanted
to move, but the mother was reluctant, the housebeing such a strong connection
to her daughter. This family too had mentioned some strange things, a girl, in
the house, but I know nothing further about this.

Now ontowards the seances. I don't quite know why Colin and Sue started to look
into this (using drawings and writings by a medium and the Ouija board) but I
think it had to do with the gypsie cleaner, who used to clean in the mornings
while Colin and Sue were at work at school. She one day said 'now who is that
nice young daughter of yours'? And she described the girl, who she saw sitting
in the front room when she came in, but she seemed to disappear. Being the
rather open minded lady the cleaner was, she was not bothered to much by that,
and the girl was nice and smiled at her anyway, but always just sat in a chair.
I think there were other events that made them believe there was a ghost, like
just feeling her presence.
BTW I still have the drawings safely tucked away.
As far as I know Colin and Sue and others held only a couple or three seances,
and when I asked why, he said that it was so striking, so strong, so real, that
they felt they must not dabble with a power they might very well not be able to
control, it got 'too much' so they said. He was evasive even after all these
years, and Sue never told me either a sufficient answer why they stopped, so I
have my suspicions, that Yvonne just really felt too real.
One of the things that came out in the seance was that Yvonne loved roses, and
she said that she had scratched a small rose into the glass of the door to the
wash place (now a toilet beside the master bedroom) hidden away. Lo and behold,
no one had ever seen that rose before, but there it is. All our doors are still
the original ones from when the house was built, BTW, except for the outside
doors.

The big story though is, that Ben had convulsions as a child until he was ten
or so. One night he had the worst convulsions ever, he was in his bedroom,
which is on the top floor, above where Sue's and Colin's bedroom was, and he
would have died had he not been brought to the hospital. Sue and Colin slept
though, but Sue was woken by a girl's voice, a very urgent one, and she felt a
touch, the girl saying 'wake up, wake up, your son is dyeing'. Sue swore that
it was so real, that she was very definitely woken by that girl, and she even
said that when she opened her eyes she could see a glimse of her shadow/figure.

Needless to say, they raced upstairs, found Ben just in time, and he is here
and healthy nowadays. Both Colin and Sue always swore that if 'this girl'
(Yvonne) had not woken them, there would be no more Ben.

Last but not least, when Ben had survived his 18th birthday Sue cried, because
she had always feared in the back of her mind that he might die too at the age
of 17. He did not, apparently, and Yvonne has not been seen since to my
knowledge.

I personally don't think she is in the house anymore, I certainly never felt
her presence and I am rather prone to 'things between heaven and earth that are
inexplicable' too. Somehow I think she is at peace now, but then again, what do
I know, probably nothing.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Need Source for Journals, Dissertations, etc.
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Date: Thu, 2 Jan 2003 07:00:30 EST
Status: RO


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In a message dated 1/1/2003 8:27:49 PM Eastern Standard Time, martyr@gti.net 
writes:


> that sells
> doctoral dissertations 

Can't help with the journals, but I believe you can buy any dissertation that 
is registered with them from Dissertation Abstracts.

Do you have access to a library that can get you things on interlibrary loan? 
 They should be able to get you the journal and any dissertation you should 
want.

Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/1/2003 8:27:49 PM Eastern Standard Time, martyr@gti.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">that sells<BR>
doctoral dissertations </BLOCKQUOTE><BR>
<BR>
Can't help with the journals, but I believe you can buy any dissertation that is registered with them from Dissertation Abstracts.<BR>
<BR>
Do you have access to a library that can get you things on interlibrary loan?&nbsp; They should be able to get you the journal and any dissertation you should want.<BR>
<BR>
Ann Wass</FONT></HTML>

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Subject: [h-cost] Costume site: a feast for the eyes
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Date: Thu, 2 Jan 2003 12:06:59 +0000 (GMT)
Status: RO

I found the following site while having a moment of senseless surfing. :-) I
think it is beautifully made and while not a single costumes is even REMOTELY
historical, if you look at them all under the 'fantasy' and 'historically
inspired' label, they are indeed a feast for the eye:

http://www.costumesalon.com/

Nicole - who is getting some inspiration from the site

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Thu Jan  2 07:13:49 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Need Source for Journals, Dissertations, etc.
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Date: Thu, 2 Jan 2003 12:14:08 +0000 (GMT)
Status: RO

You can buy American dissertations from ProQuest. Been there, done that, am
fully satisfied with their service and got the URl from, I think, Chris on the
list:

http://www.umi.com/

Nicole

 --- AnnBWass@aol.com wrote: > In a message dated 1/1/2003 8:27:49 PM Eastern
Standard Time, martyr@gti.net 
> writes:
> 
> 
> > that sells
> > doctoral dissertations 
> 
> Can't help with the journals, but I believe you can buy any dissertation that
> 
> is registered with them from Dissertation Abstracts.
> 
> Do you have access to a library that can get you things on interlibrary loan?
> 
>  They should be able to get you the journal and any dissertation you should 
> want.
> 
> Ann Wass
>  

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Thu Jan  2 09:07:36 2003
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Subject: Re: [h-cost] Costume site: a feast for the eyes
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Date: Thu, 02 Jan 2003 07:09:15 -0700
Status: RO

They *do* look like fun, Nicole.
Thanks for sharing.
--sue, who sometimes enjoys costume movies as fun _movies_, sometimes
;-D

N Kipar wrote:
> 
> I found the following site while having a moment of senseless surfing. :-) I
> think it is beautifully made and while not a single costumes is even REMOTELY
> historical, if you look at them all under the 'fantasy' and 'historically
> inspired' label, they are indeed a feast for the eye:
> 
> http://www.costumesalon.com/
> 
> Nicole - who is getting some inspiration from the site
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From h-costume-admin@indra.com  Thu Jan  2 09:28:29 2003
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From: AlbraKat@aol.com
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Subject: Re: [h-cost] Nicole's 'Costumed' ghost story
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Date: Thu, 2 Jan 2003 09:29:32 EST
Status: RO

Thanks so much for sharing  this storey Nicole.Very very thought 
procoking---and I DO believe, BTW, that there are 'many things between heavan 
and earth' that don't fit easily into our everyday three dimensional world. 
Have experienced something very similar on several occassions in my life--as 
well as hear of them from my mother, grandmother--and when she was still 
alive --greatgrandmother. In my most dramatic instance--I was warned by the 
'resident ghost'---a Mrs Johnson-- that there was a fire in my house--if I 
had'nt heeded this --I would not still have my house standing.
And yes, Nicole--if the girl has not been seen again ---she may very well 
have left --and feel at peace now:)
Many thanks again
Albra












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Date: Thu, 2 Jan 2003 07:52:18 -0700
Status: RO

Wow!  Talk about prolific!  I think it is great that dressing up is
becoming more popular.  (Or is it that I am just starting to hang out
with people who have been doing it forever?)

Sg



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Subject: [h-cost] Pucci type fabrics
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Date: Thu, 2 Jan 2003 15:04:23 -0000
Status: RO

Any ideas where you can but Pucci type fabrics anyone ?

Thanks

Mel

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From h-costume-admin@indra.com  Thu Jan  2 10:54:28 2003
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Date: Thu, 2 Jan 2003 07:55:21 -0800 (PST)
Status: RO



Does anyone (Kendra?) know where a good starter guide to using
interlibrary loan is online?  I'd really like to try to find copies
of some of the out of print books on Worth, since I'm going to be
creating an 1880s dress in his style for class this year.

.heather.


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Date: Thu, 2 Jan 2003 11:02:40 -0500
Status: RO

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Happy New Year All!                                                      =
                                                                         =
                                          My first costume of the new =
year turns out to be an art-to-wear coat, mandarin style.                =
                                            I have just returned from a =
tag-a-long business trip to Philadelphia and spent one glorious =
afternoon down on Fourth Ave. It was a dangerous place to be, not so =
much as for the 'footpads' as for all those bolts of fabric trying to =
assault my purse. One was more fortunate than the others and after an =
almost knockdown encounter, IT crawled into my bag and back to the hotel =
we went, planning how it would like to be made up.  Thus, the coat. The =
fabric is a cotton-rayon jacquard, black in color, patterned with a tiny =
honeycomb like design.  This is the background for the myriad's of =
dragon flies whirling about. Gold and white in color, they appear to be =
embroidered until you see the back side; here are the two inch wide =
stripes of gold(and white) of the underside weave and the reverse of the =
flies in black. So 'we' decided not to line the coat so that  all the =
glories of the fabric might be admired.                               =
Yesterday I cut IT out and assembled the pieces. I will be inserting a =
velvet mandarin collar in the finishing hand work.  As this is =
upholstery fabric, I have decided to cover the pressed seams with 1.5" =
black twill tape so as to avoid bulk . The buttons are going to be =
self-covered, using clips of dragonflies that managed to escape the =
scissors.                                                                =
       Another piece I acquired is a length of polished sateen with =
groups of geishas partying about. This will be made up as a long Tabard =
vest/sleeveless coat lined with a green Asian geometric design. (I have =
a number of these garments that at are useful to throw over work clothes =
when I haven't time to dress for an opening night).                      =
                                                                       I =
received the Kyoto book along with the Seeley French Fashion volume, and =
another vintage wedding book among my presents. These are certainly =
going to stimulate my mind as to what to do with some of the STASH in =
this new year. In addition to people costumes I have discovered that I =
have a lot of naked dolls that are crying out to be clothed. And I =
intend to listen to their Calls.                                         =
                                                                         =
                                                                         =
       Immediate chores are a Twentieth Century retro fashion show for =
the Library in Feb. and to start preparing for a production of the =
'Crucible'  in April .              Kathleen                             =
                                                                         =
                                                                         =
                                                  =20

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<DIV><FONT size=3D2>Happy New Year All!&nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
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&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;My first costume of the new year turns out to be an art-to-wear =
coat,=20
mandarin style.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp; I=20
have just returned from a tag-a-long business trip to&nbsp;Philadelphia =
and=20
spent one glorious afternoon down on Fourth Ave. It was a dangerous =
place to be,=20
not&nbsp;so much as for&nbsp;the 'footpads' as for all those bolts of =
fabric=20
trying to assault my purse. One was more fortunate than the others and =
after an=20
almost knockdown encounter, IT crawled into my bag and back to the hotel =
we=20
went, planning how it would like to be made up.&nbsp; Thus, the coat. =
The fabric=20
is a cotton-rayon jacquard, black in color,&nbsp;patterned with a tiny =
honeycomb=20
like design.&nbsp; This is the background for the myriad's of dragon =
flies=20
whirling about. Gold and white in color, they appear to be embroidered =
until you=20
see the back side; here are the two inch wide stripes of gold(and =
white)&nbsp;of=20
the underside weave&nbsp;and the reverse of the flies in black. So 'we' =
decided=20
not to line the coat so that &nbsp;all the glories of the fabric might =
be=20
admired. &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Yesterday I cut =
IT out=20
and assembled the pieces. I will be inserting a velvet mandarin collar =
in the=20
finishing hand work.&nbsp; As this is upholstery fabric, I have decided =
to cover=20
the pressed seams with 1.5" black twill tape so as to avoid bulk&nbsp;. =
The=20
buttons are going to be self-covered, using clips of dragonflies that =
managed to=20
escape the scissors.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp; Another piece I =
acquired is a=20
length of polished sateen with groups of geishas partying about. This =
will be=20
made up as a long Tabard vest/sleeveless coat lined with a green Asian =
geometric=20
design. (I have a number of these garments that at are useful to throw =
over work=20
clothes when I haven't time to dress for an opening=20
night).&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
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&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp; I=20
received the Kyoto book along with the Seeley French Fashion volume, and =
another=20
vintage wedding book among my presents. These are certainly going to =
stimulate=20
my mind as to what to do with some of the STASH in this new year. In =
addition to=20
people costumes I have discovered that I have a lot of naked dolls that =
are=20
crying out to be clothed. And I intend to listen to their=20
Calls.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
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&nbsp;&nbsp;&nbsp;=20
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&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;Immediate chores are a Twentieth Century retro =
fashion=20
show for the Library in Feb. and to start preparing for a production of =
the=20
'Crucible'&nbsp;&nbsp;in&nbsp;April&nbsp;.=20
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;Kathleen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
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From h-costume-admin@indra.com  Thu Jan  2 11:16:35 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
References: <006301c2b1d6$dde53920$ab0223d9@dan>
Subject: Re: [h-cost] Henrietta Maria query- 17th century
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Date: Thu, 2 Jan 2003 17:18:41 +0100
Status: RO

Hi Stevie.
Better late than never, just got back from work!
You only need 2 heights of the skirt + a little for seams and trail. This is
more than enough, remember the front skirt is almost without any pleats.
Then i would say about 2, 5 meter for the bodice and sleaves, this should be
more than plenty.
I did make such a dress once, only with a wired collar and stiff cuffs. I
made it in red taffeta. But it is so many years ago, and i dont have any
pictures, i am afraid.
But the cut of it is not that hard to make.
If you have any questions, please ask me.
Lucky you to have such an opportunity to go shopping at Libertys when they
have such fine sales.
Good luck!



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 01, 2003 9:46 PM
Subject: [h-cost] Henrietta Maria query- 17th century


> Hi,
> Can anyone please tell me how much satin would have been used in
> creating the famous green pearl strewn gown of Henrietta Maria?
> See a copy of this at
> http://freespace.virgin.net/henriettas.restaurant/henriett.htm
>
> 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 h-costume-admin@indra.com  Thu Jan  2 11:24:09 2003
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From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
References: <200301021555.h02FtLVt076713@jabberwock.wonderland.com>
Subject: Re: [h-cost] interlibrary loan
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Date: Thu, 2 Jan 2003 08:24:12 -0800
Status: RO

Hi Heather!

I'd check the website and/or call (or go in) to your local public (or
academic) library.  Each library has different policies and procedures.
Basically, how it works is that most libraries are linked through some kind
of network.  You go in to the library and tell them which book, journal
article, dissertation, whatever it is you're looking for.  They contact the
libraries in their network to find out who has a copy available for loan.
Books and dissertations are physically loaned (sometimes you're only allowed
to use them in the library -- depends on the policies of the lending
library), while articles are usually faxed (means you get to keep the copy).

FYI, since you're at Canada College right now, I'd suggest checking there
first -- more academic libraries offer ILL services than public, and some
academic libraries will cover the cost.

- Kendra
----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 7:55 AM
Subject: [h-cost] interlibrary loan


>
>
> Does anyone (Kendra?) know where a good starter guide to using
> interlibrary loan is online?  I'd really like to try to find copies
> of some of the out of print books on Worth, since I'm going to be
> creating an 1880s dress in his style for class this year.
>
> .heather.

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From h-costume-admin@indra.com  Thu Jan  2 11:53:45 2003
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From: Sue Clemenger <mooncat@in-tch.com>
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Date: Thu, 02 Jan 2003 09:53:35 -0700
Status: RO

Not personally, but I can ask a friend (who's a librarian).  Actually, I
have a couple of friends who are librarians--comes in very handy, as
they both happen to somewhat-share my interests in textiles and clothing
and such.  Usually, I just give one of them the specifics, and they try
to hunt it down for me.  Works really slick for some of the amazingly
cool stuff that crosses this list, since I'm the only one of us that's
on it!
--sue, glad to have friends and acquaintances with a variety of
interests!

Heather Meadows wrote:
> 
> Does anyone (Kendra?) know where a good starter guide to using
> interlibrary loan is online?  I'd really like to try to find copies
> of some of the out of print books on Worth, since I'm going to be
> creating an 1880s dress in his style for class this year.
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From h-costume-admin@indra.com  Thu Jan  2 12:27:42 2003
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
References: <006301c2b1d6$dde53920$ab0223d9@dan> <001301c2b27a$9daab5c0$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] Henrietta Maria query- 17th century
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Date: Thu, 2 Jan 2003 17:32:11 -0000
Status: RO

Bjarne
Many thanks for your help and encouragement; I do really, really wish
you had photos of the red dress you made. I bought some red silk
taffeta of about 4.5 meters at 1.50 meters wide , but it's in two
pieces so I will have to work out whether I can stretch it to make a
similar dress. My daughter, Bella, has a passion for red, and would
love such a dress.
I've bought ivory imperial taffeta for an 18th century dress, a little
grubby but it should wash up fine
Yes, I'm very lucky to have got so much fabric at such prices at
Liberty's. I'm disappointed that they will no longer sell anything
other than their own prints, so I'm grabbing it while I can. I've even
got the cotton netting for lace making, which will save me a lot by
comparison with the Lacis prices:-)

best wishes
Stevie

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 4:18 PM
Subject: Re: [h-cost] Henrietta Maria query- 17th century


> Hi Stevie.
> Better late than never, just got back from work!
> You only need 2 heights of the skirt + a little for seams and trail.
This is
> more than enough, remember the front skirt is almost without any
pleats.
> Then i would say about 2, 5 meter for the bodice and sleaves, this
should be
> more than plenty.
> I did make such a dress once, only with a wired collar and stiff
cuffs. I
> made it in red taffeta. But it is so many years ago, and i dont have
any
> pictures, i am afraid.
> But the cut of it is not that hard to make.
> If you have any questions, please ask me.
> Lucky you to have such an opportunity to go shopping at Libertys
when they
> have such fine sales.
> Good luck!
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
> ----- Original Message -----
> From: "Stevie Gamble" <stevie.gamble@btinternet.com>
> To: <h-costume@indra.com>
> Sent: Wednesday, January 01, 2003 9:46 PM
> Subject: [h-cost] Henrietta Maria query- 17th century
>
>
> > Hi,
> > Can anyone please tell me how much satin would have been used in
> > creating the famous green pearl strewn gown of Henrietta Maria?
> > See a copy of this at
> > http://freespace.virgin.net/henriettas.restaurant/henriett.htm
> >
> > 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 h-costume-admin@indra.com  Thu Jan  2 12:56:35 2003
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To: h-costume@indra.com
Cc: h-costume@indra.com
Subject: Re: [h-cost] Nicole's 'Costumed' ghost story
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Date: Thu, 2 Jan 2003 11:58:03 -0600
Status: RO

Hi Nicole,

You can put me down on the list of people who have also had ghostly
experiences, although since none of them were visual, there is absolutely
no costume content. ;-)



Karen

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From h-costume-admin@indra.com  Thu Jan  2 13:10:29 2003
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From: "chiara" <chiara@io.com>
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Subject: [h-cost] OT shipping to finnland
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Date: Thu, 2 Jan 2003 12:14:53 -0600
Status: RO

Ok, I know this is OT but I need a quick answer and you all are the best at
this type of thing.

How long does it take to get a shipment of anything to Finland these days?
Is there a delay once it hits overseas?

I am sending a glove making kit so it will contain doe kid, needles, thread,
pattern and such. I do not know what the laws are over on that side about
shipping leather from the states.

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

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From h-costume-admin@indra.com  Thu Jan  2 14:59:36 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 21:01:41 +0100
Status: RO

Hi.
I just wondered, are there any of you folks with lots of talents who has any
artistic veins running in the family?

My grandfather was a painter. He actually had it for a living painting
paintings. In his old days he got rather rich of it.
Well now adays his work is not apreciated very much, it is not that kind of
stuff modern people want to hang on their walls.
But i think he was a skillfull painter.
If you go to
http://www.lauritz.com/s_j/4.asp?ItemID=92274
And scroll down the page almost to the bottom, there are two of his
paintings at auction sale.
Two of his sons got painters also and my mother had a lot of talent, but you
know the story, when she got married she did not have the time for
it.................
I think i got my talent from him.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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From h-costume-admin@indra.com  Thu Jan  2 15:05:37 2003
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 12:06:28 -0800 (PST)
Status: RO

Bjarne,

When I click on the link I went to a page listing Kai
Drews, with one very pretty landscape painting.  Is
this the correct artist?

Angharat

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Nicole's 'Costumed' ghost story
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Date: Thu, 2 Jan 2003 21:10:41 +0100
Status: RO

This is a little bit costume related. :-)
I heard footsteps at Castle Selsoe some years ago. It was at midnight in the
autumn. I could hear that the shoes was made of wood. Not those kind of
wooden shoes we use these days, but an elegant shoe, with wooden lasts.
But there was nothing to see anywhere!



Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 6:58 PM
Subject: Re: [h-cost] Nicole's 'Costumed' ghost story


> Hi Nicole,
>
> You can put me down on the list of people who have also had ghostly
> experiences, although since none of them were visual, there is absolutely
> no costume content. ;-)
>
>
>
> Karen
>
> ________________________________________________________________
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From: =?iso-8859-1?q?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 20:10:53 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk>
wrote: 

> My grandfather was a painter. ...
> it is not that kind of
> stuff modern people want to hang on their walls.

> http://www.lauritz.com/s_j/4.asp?ItemID=92274
> And scroll down the page almost to the bottom, there
> are two of his paintings at auction sale.

I can only see one painting: but that one: wow!

As a modern person, no, I don't want to hang it on my
wall. But I did just set it as my wallpaper :)


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From h-costume-admin@indra.com  Thu Jan  2 15:11:35 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 21:14:19 +0100
Status: RO

Hi.
Yes, Kai Drews was my grandfather.

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message ----- 
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 9:06 PM
Subject: Re: [h-cost] off topic artistic veins


> Bjarne,
> 
> When I click on the link I went to a page listing Kai
> Drews, with one very pretty landscape painting.  Is
> this the correct artist?
> 
> Angharat
> 
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From h-costume-admin@indra.com  Thu Jan  2 15:15:37 2003
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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 14:20:03 -0600
Status: RO

On my father's side, I come from a long line of painters and calligraphers,
Vecchio's.

My father is a wiz at painting and I am still using my Grandfather's
father's scribal nibs.

On my mother side, I come from a long line of seamstresses and tailors,
Esquivel-Lopez-Villarreal-Arrevalo.

My mother has that enviable talent of looking at something for 5 minutes,
going home and reproducing it all in one day. It takes me a week to do that.
:(

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 2:01 PM
Subject: [h-cost] off topic artistic veins


> Hi.
> I just wondered, are there any of you folks with lots of talents who has
any
> artistic veins running in the family?
>
> My grandfather was a painter. He actually had it for a living painting
> paintings. In his old days he got rather rich of it.
> Well now adays his work is not apreciated very much, it is not that kind
of
> stuff modern people want to hang on their walls.
> But i think he was a skillfull painter.
> If you go to
> http://www.lauritz.com/s_j/4.asp?ItemID=92274
> And scroll down the page almost to the bottom, there are two of his
> paintings at auction sale.
> Two of his sons got painters also and my mother had a lot of talent, but
you
> know the story, when she got married she did not have the time for
> it.................
> I think i got my talent from him.
>
> Bjarne
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
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From h-costume-admin@indra.com  Thu Jan  2 15:36:47 2003
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Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 15:37:30 -0500
Status: RO

My dad can draw and paint beautifully. My mom could sew ANYTHING. The woman
was a genius with a sewing machine. So, I guess I come by it honestly.

But of all three of us girls, I'm the only one who does anything in the way
of sewing or any other art forms. Neither one of my sisters does anything
like that.

Dianne
----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 3:01 PM
Subject: [h-cost] off topic artistic veins


> Hi.
> I just wondered, are there any of you folks with lots of talents who has
any
> artistic veins running in the family?
>

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From h-costume-admin@indra.com  Thu Jan  2 16:03:40 2003
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 13:04:16 -0800 (PST)
Status: RO

In that case Bjarne, it is yet again proven that I do
not have "modern" tastes, as I like it and would hang
something like that up in my home, or at work.

As for my family and artistic tendencies, Mother's
side: one cousin makes sewn paper models of historical
monuments like the Taj Mahal in under 1 foot sizes and
participates in theatre, his brother and wife are
starting a business of writing and illustrating
children's stories, an aunt paints landscapes and
animal portraits in acrylics, lots of sewing,
needlework and crocheting, and one other aunt, who
painted ceramics.  On my Father's side:  Dad did
woodburning, leathertooling, knot/braid
making,punchneedle embroidery and Black powder era
costuming,his elder brother was in movies and younger
brother is a photographer and makes jewelry, my
grandmother painted ceramics and made porcelain dolls
and crochets, beyond them, I know there was a
photographer and not much else, we don't know a lot
about that side of the family because of adoptions and
burned records.  My brothers are all computer
programmers, very tidy organized minds.

My mother taught me the "ladylike" skills, but wasn't
very creative on her own, other than being able to
alter the Big 3 patterns to fit her family better. 
She follows patterns exclusively, even to making baby
blankets.

Other than Kyle, the theatrical minded, the families
support the drive to make costumes, do research and my
drawings, but don't understand the "need" to make
them.  *grin*  The subjects confuse most of them, but
they appreciate the work.   

angharat


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Date: Thu, 2 Jan 2003 16:40:47 -0500
Status: RO

        Actually, that is exactly the kind of paintings I would love to
have on my wall.  He did beautiful work as does his grandson.

        My family is mostly all artistic except for me.  Somehow, it
skipped over me.  However, none of my family has anything up for sale in
an auction anywhere.  They weren't that good, though my mother could have
been if she had continued her studies instead of (you guessed it) getting
married.

Lalah
Never give up, Never surrender
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Date: Thu, 2 Jan 2003 16:41:16 -0500
Status: RO


On Thu, 2 Jan 2003 21:01:41 +0100 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Hi.
> I just wondered, are there any of you folks with lots of talents who 
> has any
> artistic veins running in the family?
> 
> My grandfather was a painter. 

    My great grandmother painted as a hobby until she married my great
grandfather, a parson.  He felt that painting was *not* a fittin' hobby
for the parson's wife, so she gave it up forthwith.  When I was very
small, I had a yellow quilt she made--it had pale yellow accents, and a
huge (to my 5 year old eyes) white field with an embroidered farm scene
in gold.  One of my favourite pastimes was to pick apart the french knots
with my teeth--and *Yes*, I kick myself around the house still at the
thought of what I did!

   Even as a slightly older child, I could recognize the artistry she put
into the battered remains of a rag doll my great grandmother made for my
mother--the doll's eyes looked like they had been painted with the
embroidery cotton.  

   My great grandfather left a diary he kept when he went to the
California gold fields, from which document I gathered he was something
of a prig; and while I have nothing but two paintings my great
grandmother did, I like to imagine a secret streak of rebellion hidden
behind her outward obedience to her husband!

   Elizabeth

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From: Liz / Cozit <cozit@comcast.net>
Subject: Re: [h-cost] interlibrary loan
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Date: Thu, 02 Jan 2003 17:20:32 -0500
Status: RO

Generally speaking, as far as requesting the books goes, check with your 
library (different libraries work different ways).  *G* Something I've 
got to do shortly myself, as Maryland now has an statewide interlibrary 
loan system I can request books from over the web to be picked up at my 
library... but I don't know the routine for books from elsewhere anymore 
because of the change.

As far as finding books to request, I find them all over the web, and on 
sites like Powells and Amazon.  

Not every book is out there to be borrowed... but if it is, and it's 
available to you, your librarian should be able to help you out (the 
tale end of the borrowing is through them, so they've the last say on 
"how to")

-Liz

>From: Heather Meadows <alice@wonderland.com>
>
>
>Does anyone (Kendra?) know where a good starter guide to using
>interlibrary loan is online?  I'd really like to try to find copies
>of some of the out of print books on Worth, since I'm going to be
>creating an 1880s dress in his style for class this year.
>  
>


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 22:51:27 +0000 (GMT)
Status: RO

It's a very skilled painting, one where I feel almst drawn into, the perfect
setting for a fantasy story where the 21st c person is sucked into the lifelike
painting and finds her/himself in the landscape. :-)

On the artistic family question: nope, none that I know of. My aunt (dad's
sister) painted and drew a little, but not very wonderful. My aunt (mum's
sister) did lots of dried flower arrangements and stuff, and my mum is sewing
very skillfully, but always to the letter after a pattern. I would not call any
of the above particularly artistic. There is no talent I have ever heard of
anywhere in the family. Oh well :-))))

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 02 Jan 2003 14:36:34 -0800
Status: RO


>I just wondered, are there any of you folks with lots of talents who has any
>artistic veins running in the family?

My mother's parents were both musical (guitar, banjo, piano, singing), and 
that grandfather and his mother-in-law dabbled in furniture making, wood 
carving, etching, painting, and a few other artsy things.  That grandfather 
knew Charles M. Russell, the 'other' cowboy painter.  That grandmother did 
weaving.  From that side of the family I inherited two antique boxes of 
watercolour paints, original owner unknown, and all the leftover weaving 
thread, but not the spinning wheel, the two table looms, nor the White 
treadle sewing machine.  OCC - I also inherited my grandfather's two canes, 
three boxes of antique lace, collars, and one (unused?) petticoat flounce, 
somebody's hand-embroidered eyelet shift from like the 1850s, a few crochet 
hooks, bodkins, and stilettos, and a big box of buttons.

Of my mother's siblings, Aunt Eleanor (1st child) had rheumatic fever, and 
did all kinds of embroidery instead of outdoorsy things (I inherited a few 
pieces).  Aunt Eileen (2nd) crocheted tablecloths.  (I named my two kids 
after these aunts.)  Uncle Larry (3rd) wasn't very artistic, but one of his 
daughters was.  Uncle John Barrows (4th) was a famous French Horn player in 
the 1950s, and taught at the U of Wisconsin, among other things.  My mother 
(5th) knits, sews, needlepoints Oriental rugs, and used to do a linoleum 
block Xmas card every year.

On my father's side, of my grandparents, two sets of aunts/uncles, 10 
cousins, and two half-siblings, there is no artistic streak whatsoever, nor 
any great appreciation of the arts.

>My grandfather was a painter. He actually had it for a living painting
>paintings. In his old days he got rather rich of it.
>Well now adays his work is not apreciated very much, it is not that kind of
>stuff modern people want to hang on their walls.
>But i think he was a skillfull painter.
>If you go to
>http://www.lauritz.com/s_j/4.asp?ItemID=92274

I guess I'm just not a modern person ;) because I like it just fine.  It 
reminds me of some of the late-1800s-early-1900s paintings that were done 
in California, and now get lumped under the name of 'Craftsman'.


Kayta

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Date: Thu, 2 Jan 2003 18:13:30 -0500
Status: RO


.
> >But i think he was a skillfull painter.
> >If you go to
> >http://www.lauritz.com/s_j/4.asp?ItemID=92274


Guess I'm not modern either, because I think it's beautiful!

Dianne
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Date: Thu, 2 Jan 2003 15:21:30 -0800 (PST)
Status: RO

What a lovely landscape!

> Hi.
> I just wondered, are there any of you folks with
> lots of talents who has any
> artistic veins running in the family?

As to artistic talents running in my family--I have
been very blessed with an abundance of skills from
both sides of my family.

On my mother's side there was a great-aunt who
painted--mostly landscapes. On my father's side, my
grandmother loved textiles of all kinds. She was able
to spin and did weave some of her own fabrics (but
stopped long before I was born); she sewed well,
quilted, embroidered and crocheted lace.

I used to be a more-than-passable landscape artist,
but I rarely do landscapes now; trompe l'oeil
illumination (it's called "squashed bug" around here)
is what interests me at this point in time. I also
have sewed professionally (mostly wedding gowns and
prom dresses). My interest is now focused on 16th
century Italian clothing. I embroider (mostly
blackwork these days) and used to make crocheted lace
shawls.

My great-aunt's work used to be exhibited in a museum
here in Ohio, but I'm not sure if it's still there or
not.

kate







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From h-costume-admin@indra.com  Thu Jan  2 19:14:34 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <006301c2b1d6$dde53920$ab0223d9@dan> <001301c2b27a$9daab5c0$4096fea9@CPQ21932199711> <020301c2b28a$db271dc0$31baee0c@c59303a>
Subject: Re: [h-cost] OT shipping to finnland
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Date: Fri, 3 Jan 2003 01:16:56 +0100
Status: RO

Hello.
I would say it would take as long as it takes to Denmark.
Finland is also a member of the EU.
When i get parcels from the USA, they usually takes about 8 days, this is
for air mail. But then the parcels goes to the custom to be examined. You
have to pay extra taxes for some parcels from USA and then it could take  a
week more.

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "chiara" <chiara@io.com>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 7:14 PM
Subject: [h-cost] OT shipping to finnland


> Ok, I know this is OT but I need a quick answer and you all are the best
at
> this type of thing.
>
> How long does it take to get a shipment of anything to Finland these days?
> Is there a delay once it hits overseas?
>
> I am sending a glove making kit so it will contain doe kid, needles,
thread,
> pattern and such. I do not know what the laws are over on that side about
> shipping leather from the states.
>
> Sincerely,
> Chiara
> Ansteorra, Steppes
> Not all ermine spots are created equally
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Thu Jan  2 19:33:27 2003
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: nicole's ghost
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Date: Thu, 02 Jan 2003 16:33:03 -0800
Status: RO

I think the vast majority of us would like to Know.  My family's ghost story 
is very modern and yucky, but I love historical ghosts.



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

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


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From h-costume-admin@indra.com  Thu Jan  2 19:34:26 2003
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Date: Thu, 02 Jan 2003 16:36:26 -0800
Status: RO

My dad sang and was a photographer, his father played fiddle and was 
also a photographer. My great grand pa and at least one of his brothers 
played fiddle also. I have the great uncle's fiddle. My father's mom 
painted, sketched, potted, and sewed.
My mom sews, sketches, builds furniture, knits, used to weave - but I 
have the loom now. My mother's mom sewed and did leatherwork. My 
mother's father invented some punch system for mass producing fenders 
for cars. Or something like that.
So. Creative grandparents. My cousins are generally creative also. 
Artists, writers, architects.
Nice I fit in to my family!

liz

Bjarne og Leif Drews wrote:

>Hi.
>I just wondered, are there any of you folks with lots of talents who has any
>artistic veins running in the family?
>
>My grandfather was a painter. He actually had it for a living painting
>paintings. In his old days he got rather rich of it.
>Well now adays his work is not apreciated very much, it is not that kind of
>stuff modern people want to hang on their walls.
>But i think he was a skillfull painter.
>If you go to
>http://www.lauritz.com/s_j/4.asp?ItemID=92274
>And scroll down the page almost to the bottom, there are two of his
>paintings at auction sale.
>Two of his sons got painters also and my mother had a lot of talent, but you
>know the story, when she got married she did not have the time for
>it.................
>I think i got my talent from him.
>
>Bjarne
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>  
>

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From h-costume-admin@indra.com  Thu Jan  2 20:03:26 2003
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Date: Thu, 02 Jan 2003 16:59:37 -0800
Status: RO



>
>Hi.
>I just wondered, are there any of you folks with lots of talents who has 
>any
>artistic veins running in the family?

My Grandmother was very creative in traditional ways.  Quilting, embroidery, 
sewing, etc..  My mother cooks, sews, paints in watercolor and oil, and 
comes up with crafts for her sunday school classes all the time.

It took three of us girls to make one of my mom, I sew like a madwoman, Amy 
cooks all sorts of wonderful things, and Holly does drawings and paintings 
that hang in Mom's house and are fantastic.

I'm not limited to sewing although it has always been my truest gift.  I 
also love to do beadweaving, artsy craftsy projects galore, and I'm forever 
just absorbing new interests all the time.  I find however that I stink in 
the drawing or painting depts.  ;)  They must be for other sisters.


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

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





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From h-costume-admin@indra.com  Thu Jan  2 20:21:27 2003
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From: "Mary Temple" <noxcat@hotmail.com>
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Date: Fri, 03 Jan 2003 01:22:30 +0000
Status: RO

Lovely painting - it reminds me of my great-grandfather's paintings that are 
hanging in my mother's house. (Her father's father)

As for artistic families - I don't know much about my father's side other 
than him, but I have a beautiful wooden lamp that he made. It's over 50 
years old, and works perfectly.

On my mother's side I am surrounded by creative types over several 
generations. Interior designers, Floral designers, seamstresses, tailors, 
even a formally trained Chef. (And one Veterinarian/U.S. Army Colonel.)

Mary/Katerine

>Hi.
>I just wondered, are there any of you folks with lots of talents who has 
>any
>artistic veins running in the family?
>
>My grandfather was a painter. He actually had it for a living painting
>paintings. In his old days he got rather rich of it.
>Well now adays his work is not apreciated very much, it is not that kind of
>stuff modern people want to hang on their walls.
>But i think he was a skillfull painter.
>If you go to
>http://www.lauritz.com/s_j/4.asp?ItemID=92274
>And scroll down the page almost to the bottom, there are two of his
>paintings at auction sale.
>Two of his sons got painters also and my mother had a lot of talent, but 
>you
>know the story, when she got married she did not have the time for
>it.................
>I think i got my talent from him.
>
>Bjarne
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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From: kris <ionization@shaw.ca>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 02 Jan 2003 18:52:08 -0800
Status: RO

*grin* My family is very musical. Mom always sang to me and my brother 
before we went to bed. Dad is an amazing baritone, as is my brother. I'm a 
trained mezzo. Me and my brother also play 3 instruments each. err.. 
four... or more. ack! We're a band unto ourselves, it seems.

As for fine art, me and my bro get our talents from dad. He's an amazing 
artist - he always drew pictures to go along with the poetry in our morning 
notes. My brother is trying to get into Emily Carr, studying drawing, and 
I've got 1st year university art, from my high school. I think that only my 
brother has the passion for it to succeed, though. Some of the things he 
does are amazing. Geiger-inspired, I suppose, although he does some 
animations and still-lifes as well.

kris
most of the drawing I do is designing costumes and clothes..

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Date: Thu, 02 Jan 2003 21:59:25 -0500
Status: RO



Bjarne og Leif Drews wrote:
> 
> Hi.
> Yes, Kai Drews was my grandfather.

It is a stunning painting.  I would love to own art of that quality.

My mom was a painter, photographer, did lectures on ,of all things, sea
shells and floral arrangments. She was a life time national floral show
judge hewre in the U.S. If I have any talent it came from her. 


Di
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From h-costume-admin@indra.com  Thu Jan  2 22:57:34 2003
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Date: Thu, 2 Jan 2003 22:58:59 -0500
Status: RO

Bjarne,

Thank you for such a wonderful topic!  Your grandfather's work is inspiring
just like your work.  It is wonderful to here everyone's background on the
list.

I live in a world of art and respecting it.  I think I was born this way.  I
majored in college with how many art fields I could be in.  I started out in
architural drawing, changed to painting, then fashion, home ec. ed., then
finally fashion & costume.  You all didn't know that I dabble in painting
any thing from on the computer to painting a real house.  I also worked for
5 years in landscaping.  I almost went back to college for landscaping
instead of fashion.  I decided that I didn't like the hot months of July and
August.

My mom was a very skilled seamstress and a perfectionist.  If my stitches we
not 100% correct, I had to rip them all out with a pin one stitch at a
time... we didn't own a seam ripper.  My mother was grand at  crotchet.  I
wish I had some of her work.  Mom doesn't talk much about her family's
talents since she grew up in the depression, everyone was poor and just
tried to get by.

My paternal grandmother was a spinner and weaver in the Carolina textile
mills.  I have documented her working in them on the 1910 census.  My Great
Aunt wrote down a story about how the women worked in different shifts at
the mills and cared for one another's children while the other women worked.
In the same section of the country, one of my Aunt's was a big shot hair
stylist and received a number of awards from the state organization.  She
also held a number of offices within the organization.

All my sisters are fashion lovers but my youngest sister is the only one
besides me who has artistic talents.  She has worked as a markup artist for
a couple of pageantry magazines and the Miss America pageant.  She also
started out in school for architural drawing.  Now she is a computer teacher
in elementary school.

My husband is a drummer and majored in film in college.  His mother was a
wonderful seamstress and a professional hair stylist.  His father was a
carpenter and made wonderful things from wood.  Hubby also has a sister who
is an outstanding painter and artist in several mediums.

Putting these two families together generated a houseful of artistic kids.
All of my kids play an instrument, except Katie.  My oldest son could play
any instrument but has settled down to drums (thank God they are at his
house now).

My #2 son plays drums and guitar.  He does play guitar professionally at
local coffee houses. We call him the strolling minstrel, he would walk
around the house after midnight playing his guitar.  He also creates all
kinds of artistic creations and sells them at local shops.  He has been
commissioned several times for his paintings.  #2 says he wants to fake his
death so we could sell his work for a higher price.  Amazing story about
this child... he really disliked high school and had poor grades in
everything but music and art subjects.  He finished with a 1.7 GPA.  We kept
telling him that he would *never* get into college with that GPA.  He was
accepted to the first school that he did a portfolio showing.  The professor
told me, "Art students usually do not have a good high school GPA.  They get
into college with their talent."

#3 son played saxophone for years.  #4 is my theater techie that I told you
all about.  He also played trumpet.  #5 son... well we love Sam... just
waiting for the butterfly to come out of his cocoon.  Wait! He did play
drums.  (thank God again, that the drums are no longer in our house).

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  Thu Jan  2 23:32:28 2003
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Date: Thu, 02 Jan 2003 21:34:16 -0700
Status: RO

Uhm, yeah...kinda-sorta, but in bits and pieces.
My mom minored in art in college--she did mostly painting (watercolors
and oils).  Loathed any sort of sewing, though, or anything that was
more process than goal-oriented.
HER father's family were apparently weavers from way back, although
Grandfather was actually some sort of specialist engineer, who taught
college physics in the evenings.  Bless the man, he must have had "gotta
be busy" hands, like mine, because he did woodworking (I have one of his
bowls), and a LOT of weaving--household furnishings, AFAIK, but the
pieces I have are done in wool, cotton, linen, and something
artificial-ish (rayon, maybe?).  I got to see his loom once, when I was
very young.  It was big enough to weave bedspreads on! I very, very much
regret never really knowing him (they lived 2000 miles away, on the
other side of the US), because my mom always said he and I would have
understood each other!
His wife, Grace, whom I apparently resemble physically, was "crafty" in
some minor way--I have a metal tray she painted with some technique that
reminds me of tole painting.
On my dad's side, my great-grandma, Baba, knitted and crocheted into her
90s.  Her husband, Arthur Gibson Hull, was apparently quite the
painter--I have one of his oils in my living room.  And I've got some
photos of some murals he did in the 1930s, during some sort of New Deal
program for supporting artists--the paintings are in a school in
Massachusetts, IIRC, and depict the travels of Christopher Columbus.  If
I ever get the chance, I want to scan the photos, and put them up
somewhere on a website--they're a very interesting 1930s look at a
Renaissance theme.
Of all the cousins, I seem to be about the only one with any craft/art
impulses, outside of my cousin Cynthia, who inherited this amazing
talent from her father (not related to me by blood).  I seemed to have
gotten the craft/patient/fine-detail strain, and not the painterly
strain, though, as I can hardly draw a good circle using a compass!
I'm also a pretty good example of somebody inheriting the quirk, rather
than learning it as part of my growing-up environment, as all of my
cousins, aunts, uncles, etc. are 2000+ miles away.
--sue
P.S. Bjarne, I love your grandfather's painting...I think you're right
about where you get your amazing talent!

Bjarne og Leif Drews wrote:
> 
> Hi.
> I just wondered, are there any of you folks with lots of talents who has any
> artistic veins running in the family?
> 
> My grandfather was a painter. He actually had it for a living painting
> paintings. In his old days he got rather rich of it.
> Well now adays his work is not apreciated very much, it is not that kind of
> stuff modern people want to hang on their walls.
> But i think he was a skillfull painter.
> If you go to
> http://www.lauritz.com/s_j/4.asp?ItemID=92274
> And scroll down the page almost to the bottom, there are two of his
> paintings at auction sale.
> Two of his sons got painters also and my mother had a lot of talent, but you
> know the story, when she got married she did not have the time for
> it.................
> I think i got my talent from him.
> 
> Bjarne
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From: "Anne Moeller" <ladyanne@quik.com>
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Subject: RE: [h-cost] off topic artistic veins
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Date: Thu, 2 Jan 2003 23:55:33 -0500
Status: RO

Well, I for one think the painting is lovely.  I especially like his
rendition of the light rays.  Of course, art styles seem to go through
cycles.  What is not popular today can be hugely popular several years
down the road.  Anne  (whose uncle is a professional portrait painter
and grandmother was an amateur portrait painter) 

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Bjarne og Leif Drews
Sent: Thursday, January 02, 2003 3:02 PM
To: h-costume@indra.com
Subject: [h-cost] off topic artistic veins


Hi.
I just wondered, are there any of you folks with lots of talents who has
any artistic veins running in the family?

My grandfather was a painter. He actually had it for a living painting
paintings. In his old days he got rather rich of it. Well now adays his
work is not apreciated very much, it is not that kind of stuff modern
people want to hang on their walls. But i think he was a skillfull
painter. If you go to http://www.lauritz.com/s_j/4.asp?ItemID=92274
And scroll down the page almost to the bottom, there are two of his
paintings at auction sale. Two of his sons got painters also and my
mother had a lot of talent, but you know the story, when she got married
she did not have the time for it................. I think i got my
talent from him.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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To: h-costume@indra.com
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] interlibrary loan
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Date: Thu, 02 Jan 2003 22:55:08 -0600
Status: RO

Heather,

Email me the list of the books and I can look them up on OCLC
(a major ILL network available to libraries). If it's in there,
I can email you with the info, then you take it to your local library
and request it.

Sheryl Nance-Durst
[Who loves being a librarian - it supports her book habit]

At 07:55 AM 1/2/03 -0800, you wrote:


>Does anyone (Kendra?) know where a good starter guide to using
>interlibrary loan is online?  I'd really like to try to find copies
>of some of the out of print books on Worth, since I'm going to be
>creating an 1880s dress in his style for class this year.
>
>.heather.
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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From h-costume-admin@indra.com  Fri Jan  3 02:44:47 2003
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To: h-costume@indra.com
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 02 Jan 2003 23:02:49 -0600
Status: RO

I have an aunt who sold her paintings for many years. I still have a
couple of her landscapes in my hallway.

And I love you grandfather's painting!

Sheryl Nance-Durst

At 09:01 PM 1/2/03 +0100, you wrote:
>Hi.
>I just wondered, are there any of you folks with lots of talents who has any
>artistic veins running in the family?
>
>My grandfather was a painter. He actually had it for a living painting
>paintings. In his old days he got rather rich of it.
>Well now adays his work is not apreciated very much, it is not that kind of
>stuff modern people want to hang on their walls.
>But i think he was a skillfull painter.
>If you go to
>http://www.lauritz.com/s_j/4.asp?ItemID=92274
>And scroll down the page almost to the bottom, there are two of his
>paintings at auction sale.
>Two of his sons got painters also and my mother had a lot of talent, but you
>know the story, when she got married she did not have the time for
>it.................
>I think i got my talent from him.
>
>Bjarne
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Fri Jan  3 02:44:49 2003
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Subject:  [h-cost] off topic artistic veins
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Date: Fri, 3 Jan 2003 00:11:39 -0500
Status: RO

 I spent years trying to find my "artistic niche". . . I first tried
sketching and painting like my great-grandmother (she was vastly prolific,
but didn't sell any that I know of, they are all somewhere in the family).
Wherever she went on vacation, she came home with paintings.  She even went
so far as to walk up to the door of Monticello in Virginia to ask permission
to paint-- from the BACK, standing in a cow pasture as she worked.

It took me 15 years to find fabric was my medium.  Then I started
researching the family tree and found out that my paternal relations (both
male and female) were in textiles for the past 300 years (mom and dad were
divorced, I didn't know my grandfather had brothers until he after he died).
>From loom operators, both power and manual, to dyers and spinners.
Nevermind the tailors/seamstresses going back generations. . . .

If only I had listened to my genes 15 years earlier.  OK, try tried to tell
me when I was 5, when I would wrap any scrap of fabric around my dolls with
safety pins to hold it on. . . . that was when Mom taught me to use a needle
and thread.  (Mom can sew, mostly draperies and simple clothing-- so sue me,
simple is anything less than couture. . .  But she knits like a dream.)  So,
13 years after that, I got into re-enactment. . . which lead to going into
business.  It's all history from there.

Lyn Greaves

BTW-- anyone know where I can get a doily pattern that is KNIT not crochet?
Mom did some 30 years ago, but she doesn't remember where the patterns are.
.. .  and I can't crochet to save my life.



> Bjarne og Leif Drews wrote:
> >
> > Hi.
> > I just wondered, are there any of you folks with lots of talents who has
any
> > artistic veins running in the family?
> >
> > My grandfather was a painter. He actually had it for a living painting
> > paintings. In his old days he got rather rich of it.
> > Well now adays his work is not apreciated very much, it is not that kind
of
> > stuff modern people want to hang on their walls.
> > But i think he was a skillfull painter.
> > If you go to
> > http://www.lauritz.com/s_j/4.asp?ItemID=92274
> > And scroll down the page almost to the bottom, there are two of his
> > paintings at auction sale.
> > Two of his sons got painters also and my mother had a lot of talent, but
you
> > know the story, when she got married she did not have the time for
> > it.................
> > I think i got my talent from him.
> >
> > Bjarne
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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From: Sue Clemenger <mooncat@in-tch.com>
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Date: Thu, 02 Jan 2003 22:33:14 -0700
Status: RO

And in more ways than one!
It never occured to me, until I had one of those "well, duh!" moments,
looking at the link he provided for his grandfather's painting, that
maybe I could find _my_ great grandfather's work online.
Gawd bless Google, 'cuz there he is!
It turns out that my memory is pretty faulty--the murals are located in
Norwalk, CT, and are part of a Depression-era collection of paintings
for a number of public buildings in Norwalk.  And the subject was Marco
Polo.  (geez, but this is embarassing!)
However, here's the link to the first painting in the series....
http://www.norwalktransit.com/murals36.htm
It links to the others that they have webbed.  Interesting costume
interpretations are especially noticeable in the one titled "Venice, the
musicians."
This is _so_ cool!
--sue
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To: h-costume@indra.com, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] off topic artistic veins
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Date: Thu, 02 Jan 2003 22:05:23 -0800
Status: RO

Yes, I grew up in an artistic home. My father painted when I was young,
then went back to his first love of art photography.  My mother painted and
did mosaics, as well as sewing and doing needlework.  She's also musically
gifted, with perfect pitch and a phenomenal ear, but tragically was pushed
too much as a child and loathes playing the piano to this day.  

My brother and sister both inherited my mother's ear.  My brother is one of
those annoying people who can play any instrument he picks up, and he also
draws, paints, makes prints, and does silversmithing.  My sister sings and
plays the piano professionally, and draws well. 

I myself am thought to have some skill with a needle, and I write and do
computer illustrating as part of my pattern business. I hope to write a
couple of costume history books eventually, as well.   also love to sing,
do it all the time, while doing housework and driving, and am lucky enough
to have a good voice, although I've never been able to play any but the
simplest of instruments. 

I'm trying to carry this on with my children, by sending them to a school
where the arts are emphasized, and where every child learns handwork like
knitting, chrocheting, and sewing. We also do it at home, by having
shelves full of craft and art supplies available to them, and having family
singing in the car instead of Game Boy battles and radios. 

I firmly believe that everyone is born creative, it's just that some of us
were lucky enough to stay that way, instead of being discouraged from it.  


Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Thu, 02 Jan 2003 22:41:12 -0800
Status: RO

Amazing, you all come from such talented families.  My family has been 
pretty much nothing but engineers for as long as I can trace.  I joke about 
rocket science being the family profession because my children are the 
third generation that are headed that way.  I am the only one with any 
artistic bent.  They have always just patted me on the head and accepted me 
for my inexplicable interests.  Professionally, I am a geologist and even 
that is a mystery to most of them because they are all engineers or 
computer scientists.  Of course, if they need an interesting dress for a 
special occasion, they appreciate me then.

At the same time, I am not so sure that my costuming is that far removed 
from engineering.  I can conceptualize a look, determine in my mind what it 
should consist of and then make a flat pattern for it without ever drawing 
it out on paper and have it work perfectly.  That came in very handy when I 
was doing the costumes for Alice in Wonderland which were a lot of fantasy 
costumes.

It is a lot less handy when it comes to historical costume because it is 
almost impossible for me to follow a pattern or do something "right".  I 
always have a better idea.

And, it seems that my children, despite my daughter's obsession with dance, 
are following the example of my family rather than my own.  I seem to be 
the cuckoo artist in a nest of engineers. Maryann

At 09:59 PM 1/2/2003 -0500, you wrote:


>Bjarne og Leif Drews wrote:
> >
> > Hi.
> > Yes, Kai Drews was my grandfather.
>
>It is a stunning painting.  I would love to own art of that quality.
>
>My mom was a painter, photographer, did lectures on ,of all things, sea
>shells and floral arrangments. She was a life time national floral show
>judge hewre in the U.S. If I have any talent it came from her.
>
>
>Di
>_______________________________________________
>h-costume mailing list
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Subject: [h-cost] Problems with Crocheting
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Date: Fri, 3 Jan 2003 02:59:41 -0500
Status: RO

Lyn,

You mentioned you had problems with crocheting.  May I ask... Are you left
handed?  I tried to crochet for years.  I was so frustrated.  Then I
discovered I was trying to learn from my mother who is right handed.  I
discovered the problem when standing in from of a mirror.  I gave up on
crocheting then.  I really love the art... so I buy it when I go to antique
shows.  I have crocheted dollies all over my house!

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] Problems with Crocheting
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Date: Fri, 3 Jan 2003 03:05:48 -0500
Status: RO

Nope, for some reason, I just can't get the hang of the loops and stitches.
Give me any knitting pattern- cables or other complicated stuff-- and I can
get the pattern in my head after about 2 repeats.  I make up sock patterns
on the fly.  Crochet- nothing sticks.

I had a friend try to teach me, my mother, my grandmother-- I end up with
this nice single row of chain stitch no matter what I do.

I figure I have to have at least one stumbling block- I seem to pick up
anything else that uses a needle fairly easily.

But thanks for the thought.


Lyn Greaves



----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Friday, January 03, 2003 2:59 AM
Subject: [h-cost] Problems with Crocheting


> Lyn,
>
> You mentioned you had problems with crocheting.  May I ask... Are you left
> handed?  I tried to crochet for years.  I was so frustrated.  Then I
> discovered I was trying to learn from my mother who is right handed.  I
> discovered the problem when standing in from of a mirror.  I gave up on
> crocheting then.  I really love the art... so I buy it when I go to
antique
> shows.  I have crocheted dollies all over my house!
>
> 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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Subject: Re: [h-cost] Bjarne's an inspiration!
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Date: Fri, 3 Jan 2003 03:12:54 -0500
Status: RO

Oh, Sue... you have taken my heart!!!  I love murals!!!!!  This is wonderful
that you found your grandfather's work online.

Looking at it, I remembered where I found my love for art.  When I was in
4th and 5th grade I went to school located in what was an old high school.
The auditorium was filled with murals from a locally famous artist named
Walter Anderson. http://www.walterandersonmuseum.org/  The murals were the
founding of the Gulf Coastal Region of Mississippi and Alabama.   When we
had assemblies in the auditorium, I would stare at the ceiling and daydream
in the paintings.  When I was in high school, we took a field trip to the
Anderson family business.  Mr. Anderson had passed at that time, but his
wife gave us a tour of their small home and told us stories of Mr. Anderson
rowing out to the Gulf Coast islands to paint.  I could just imagine him
rowing in a little boat out to the islands with paint and canvas.

The irony of it all... is that his paintings inspired me at such a young
age.  And I grew up to marry one of the descendants of the Coastal founders
in the Anderson mural.

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: Fri, 03 Jan 2003 00:20:41 -0800
Status: RO

To Sue and Bjarne-

Bjarne, your grandfather's painting is so serene and restful, beautiful 
colors in the sun rays, I would have loved to see him work the paints!!

Sue, these murals are masterpieces!!! The composition and detail is 
amazing, and the colors are incredible!!!

Thanks to both of you for sharing!!!

Theresa Eacker

Sue Clemenger wrote:

> And in more ways than one!
> It never occured to me, until I had one of those "well, duh!" moments,
> looking at the link he provided for his grandfather's painting, that
> maybe I could find _my_ great grandfather's work online.
> Gawd bless Google, 'cuz there he is!
> It turns out that my memory is pretty faulty--the murals are located in
> Norwalk, CT, and are part of a Depression-era collection of paintings
> for a number of public buildings in Norwalk.  And the subject was Marco
> Polo.  (geez, but this is embarassing!)
> However, here's the link to the first painting in the series....
> http://www.norwalktransit.com/murals36.htm
> It links to the others that they have webbed.  Interesting costume
> interpretations are especially noticeable in the one titled "Venice, the
> musicians."
> This is _so_ cool!
> --sue
> _______________________________________________
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> 


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Date: Fri, 3 Jan 2003 03:24:23 -0500
Status: RO

I guess, Lyn, it just wasn't meant to be.  Isn't it funny that some things
you can pick up and it is like an old friend.  It must be a gift in those
cases.

I always wanted to learn to knit and tat.  My back and eyesight has gone so
much, I guess I will be happy with just doing embroidery and cross stitch.
I glared over at my bags of needlework tonight.  I told myself  "No, you
can't touch them until you finish the quilt and some other work."  I get
into moods where I want to finish something.  When working on a project, I
will leave a little corner of something unfinished for when I get into those
moods.

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] Bjarne's an inspiration!
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Date: Fri, 03 Jan 2003 00:43:07 -0800
Status: RO

Penny Ladnier wrote: (pruning ensues)

> Oh, Sue... you have taken my heart!!!  I love murals!!!!!  This is wonderful
> that you found your grandfather's work online.
> 
> Looking at it, I remembered where I found my love for art.  When I was in
> 4th and 5th grade I went to school located in what was an old high school.
> The auditorium was filled with murals from a locally famous artist named
> Walter Anderson. http://www.walterandersonmuseum.org/  


What a delightful story about your connections to the land and your 
sense of place.  I'm sorry to say that, before now, I never knew about 
Walter Anderson and am so glad you posted this museum's site. I'm 
dazzled by his art - his birds and animals are just enchanting!!! What a 
unique and wonderful viewpoint of your area - thank you so much for 
telling us about this artist. And, it's so wonderful to see his work is 
being cherished and exhibited with such love.

Uhhh, costume content... oh, yeah...Anderson's use of color in his birds 
would make a great avian costume inspiration... gosh, all those feathers!!

Theresa Eacker

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Subject: Re: [h-cost] Bjarne's an inspiration!
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Date: Fri, 3 Jan 2003 03:58:47 -0500
Status: RO

Theresa,

I am glad that you enjoy Walter Anderson's work.  All of his children went
into the arts field and carried on the family business.  I remember at the
front of the family estate was a huge pottery shop.  His son's were pretty
famous for their pottery.  It is wonderful to see they have made a museum of
their father's work.

What a wonderful legacy!

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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Problems with Crocheting
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Date: Fri, 03 Jan 2003 01:08:32 -0800
Status: RO


>Give me any knitting pattern- cables or other complicated stuff-- and I can
>get the pattern in my head after about 2 repeats.  I make up sock patterns
>on the fly.  Crochet- nothing sticks.

I picked up crochet really easily.  I can parse what I need to do and do 
it, sometimes just from the picture.  But I never remember, in knitting, 
how to purl.  I must have been taught this 20 times, but that's what 
doesn't stick for me.  I can increase and decrease, cast on and bind off, 
and do a stitch that is sort-of like purling, for doing ribbing (the 
stitches end up looking twisted), but unless I can knit in the round 
(=socks), I don't knit.  (My mother is the big knitter in the family.)


Kayta

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Date: Fri, 3 Jan 2003 04:37:10 -0500
Status: RO

Marcus and Emma,

Thank you so much for the kinds word.  It really means a lot to me.   I need
all the support and encouragement I can get.

Marcus, I hope you will be off list for work and not illness.  If it is
illness, my thoughts and prayers are with you.

I have two disorders, one is degenerative disk disease through out my
backbone.  My disks are just fading away.  The other is a rare collagen
disorder called Ehlers- Danlos Syndrome.  Unfortunately all my siblings have
both diseases and have headed downhill fast this past year.  The collagen is
from being extremely double jointed and showing off our tricks when we were
younger.  The disorder also effects the collagen that encases almost
everything in your body, muscles, organs, etc.  It is effecting my GI tract
and the muscles in my shoulders, hips, legs, and feet.  Some days, it feels
like I am walking on glass.  Luckily, I live in a city where there are
research doctors who are knowledgeable about this disease.  I have been
seeing teams of doctors almost weekly since Sept.  I went through two months
of physical therapy, but it only made matters worse.

My goal is to not get as bad as my sisters who have had several disks
removed in the past couple of months.  I also want to be able to work
without being in pain or doped up out of my mind.  I guess I should look at
it positive, I sure am catching up on the costume movies on TV and videos.
I keep taking notes on all of them... hoping to make another film class.  I
have also pulled an old laptop into the bedroom, to keep notes.  I have a
big stack of costume books by the bed to keep me company for those breaks
that I have learned that I have to take.

Patience is the #1 thing I have learned... and not to over do 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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Subject: Re: [h-cost] Problems with Crocheting
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Date: Fri, 3 Jan 2003 06:05:50 -0500
Status: RO

I can crochet easily, but knitting drives me out of my mind. I love the look
of it, but I can't stand to do it!

Lyn, I may have a knitted doily pattern or two floating around here
somewhere. I'll do some digging and see what I can find.

Dianne
----- Original Message -----
From: "Lyn Greaves- home" <rosamund@frontiernet.net>
To: <h-costume@indra.com>
Sent: Friday, January 03, 2003 3:05 AM
Subject: Re: [h-cost] Problems with Crocheting


> Nope, for some reason, I just can't get the hang of the loops and
stitches.
> Give me any knitting pattern- cables or other complicated stuff-- and I
can
> get the pattern in my head after about 2 repeats.  I make up sock patterns
> on the fly.  Crochet- nothing sticks.
>

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Subject: Re: [h-cost] Problems with Crocheting
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Date: Fri, 3 Jan 2003 04:33:07 -0700
Status: RO

Penny said:
> I tried to crochet for years.  I was so frustrated.  Then I
> discovered I was trying to learn from my mother who is right handed. 

Just the opposite here - I learned crochet from my mom, who is
left-handed (I'm primarily right).  I can crochet up a storm, but I
never got the hang of knitting.

						...eliz
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Subject: Re: [h-cost] off topic artistic veins
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Date: Fri, 3 Jan 2003 06:45:15 -0500
Status: RO

  Do Constant Crafters count?
 My Mom's family is a very "New England" family, where evryone is always
busy.  Not much artisitc talent,  but a lot of do-it-yourself that also
meant a lot of craft type stuff.
    No one knows where I came from.  I have one aunt who sews a little bit.
Crocheting and knitting, ceramics, gardening are what everyone in my Mom's
extended Irish-based matriarchy all did, and I don't do  ANY of that!   They
were all extremely poor - Mom's family were some of the last to get any type
of indoor plumbing type of poor.  Grandma managed to raise a garden to feed
the family, sew the clothes, etc., and everyone, out to 3rd & 4th cousins,
all do something.
   I am the only one who developed a love of sewing, costuming, and they
stand in awe (literally, sometimes) over the fact that I do embroidery.   It
has become a matter of family pride that I always have an embroidery project
with me.   The fact that they have gotten used to it means that family
gatherings are a lot more bearable!
    My Dad's family I never knew much of, since Dad was much younger than
his brothers, and it got nasty when my Grandma died and the 2 brothers went
in even before the funeral and cleaned a lot of things out.    But my
grandfathre appaerntly was a master with wood, doing a number of pictures,
tables, and even lamps that are all intricate inlay.  That is the ONLY
artistic talent I can come up with, and he wasn't anyone I ever met.
Rowena

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Subject: Re: [h-cost] Problems with Crocheting
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Date: Fri, 3 Jan 2003 06:48:33 -0500
Status: RO


> I can crochet easily, but knitting drives me out of my mind. I love the
look
> of it, but I can't stand to do it!

 I swear my dislike of it and knitting comes from my grandmother trying to
teach me how to knit just when I went into the hospital to have my tonsils
out.   My mother was furious at me for a long time because I was so rude to
my Grandmother after they were out and she was helping take care of me.
All I remember was wanting to be left alone (before and after).
Rowena

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Subject: Re:[h-cost] Bjarne's an inspiration!
From: randl <randl@adelphia.net>
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Date: Fri, 03 Jan 2003 06:50:46 -0500
Status: RO

wow!! i wish i could see the "india" panel. how beautiful!
hmmmm, should i get the postcards, or the book????

laurie
> Date: Thu, 02 Jan 2003 22:33:14 -0700
> From: Sue Clemenger <mooncat@in-tch.com>
> To: "h-costume@indra.com" <h-costume@indra.com>
> Subject: [h-cost] Bjarne's an inspiration!
> Reply-To: h-costume@mail.indra.com
> 
> And in more ways than one!
> It never occured to me, until I had one of those "well, duh!" moments,
> looking at the link he provided for his grandfather's painting, that
> maybe I could find _my_ great grandfather's work online.
> Gawd bless Google, 'cuz there he is!
> It turns out that my memory is pretty faulty--the murals are located in
> Norwalk, CT, and are part of a Depression-era collection of paintings
> for a number of public buildings in Norwalk.  And the subject was Marco
> Polo.  (geez, but this is embarassing!)
> However, here's the link to the first painting in the series....
> http://www.norwalktransit.com/murals36.htm
> It links to the others that they have webbed.  Interesting costume
> interpretations are especially noticeable in the one titled "Venice, the
> musicians."
> This is _so_ cool!
> --sue
> 

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Problems with Crocheting
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Date: Fri, 03 Jan 2003 04:23:21 -0800
Status: RO


>Lyn, I may have a knitted doily pattern or two floating around here
>somewhere. I'll do some digging and see what I can find.

All the doilies my mother does are knitted.  There are patterns out there.


Kayta

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Date: Fri, 03 Jan 2003 07:26:59 -0500
Status: RO

On Fri, 3 Jan 2003 02:59:41 -0500, Penny Ladnier responded to Lyn Greaves' 
comment:

>You mentioned you had problems with crocheting.  May I ask... Are you left
>handed?  I tried to crochet for years.  I was so frustrated.  Then I
>discovered I was trying to learn from my mother who is right handed.  I
>discovered the problem when standing in from of a mirror.

Strangely enough, I'm for the most part left-handed -- but I crochet 
right-handed. Could never figure out left-handed crochet. OTOH, I taught 
myself tatting (left-handed) from a book that only had right-handed 
instructions.

Now knitting, *that* gives me conniptions. I have problems executing a purl 
regardless of whether I'm knitting right-handed or left-handed (yes, I knit 
ambidextrously -- saves me the trouble of turning the work at the end of 
every line, but it means it's a lot easier to knit patterns from graphs 
than from written instructions), and I keep getting confused with 
"east-crossing" and "west-crossing" stitches. Not to mention that I don't 
have the patience for it!

>I gave up on crocheting then. I really love the art...

Sorry to hear that. While I've not crocheted in a while, I usually find it 
relaxing (if stressful on my hands). Unfortunately, the type of crochet I 
started getting into (the fine Irish crochet lace that's done by working 
stitches in #70 cordonnet over #10 cordonnet padding/shaping threads) needs 
much finer control than I can get on the subway -- the only time I have for 
hand needlecraft/threadcraft. The #10-20-30 bedspread cotton isn't a 
problem, but a couple of years of crocheted-snowflake Christmas presents 
kind of burned out on that... at least for several years.

On Fri, 3 Jan 2003 03:05:48 -0500, Lyn Greaves responded:

>Nope, for some reason, I just can't get the hang of the loops and stitches.
>Give me any knitting pattern- cables or other complicated stuff-- and I can
>get the pattern in my head after about 2 repeats.

The pattern is the easy part... just remembering a sequence of stitches. 
It's the execution (and making sure I don't lose track of which direction 
I'm knitting in and how far along the line I've gotten)...

>I make up sock patterns on the fly.

Oh, too cool! Do you do those in sport yarn, worsted, fingering yarn, or 
lace yarns? Mom's attempts at knitting socks in (*ugh*) acrylic worsted 
when I was in college ended up with these heavy socks that make even my 
athletic shoes fit too tightly :(

>Crochet- nothing sticks.

I think that's my sister with sewing... She can knit stockinette as long as 
there's no pattern (she knits lengths and lengths of stockinette stitch in 
cotton and binds them together to make ugly afghans which she never uses... 
for relaxation).

>I had a friend try to teach me, my mother, my grandmother-- I end up with
>this nice single row of chain stitch no matter what I do.

Sounds like me trying to explain pattern alterations -- in ANY medium 
(sewing, knitting, crochet, etc.) to my mother!


Brenda
webwarren@earthlink.net


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Date: Fri, 03 Jan 2003 07:37:43 -0500
Status: RO

On Thu, 02 Jan 2003 22:41:12 -0800, MaryAnn Jones wrote:

>...Professionally, I am a geologist and even that is a mystery to most of 
>[my family] because they are all engineers or computer scientists....

Sounds like you're a bit more of a tactile person than they are... but I 
suspect that the architects and civil engineers in the family would have a 
professional appreciation for geologists. I mean, without some information 
about the underlying soils, rocks, etc. -- not to mention local (seismology 
and tectonics?) -- how would they know how to make a building that will be 
safe and stable under local conditions?

>At the same time, I am not so sure that my costuming is that far removed 
>from engineering.  I can conceptualize a look, determine in my mind what 
>it should consist of and then make a flat pattern for it without ever 
>drawing it out on paper and have it work perfectly.

I used to explain pattern-making to some of my housemates (I went to MIT, 
majoring in Nuclear Engineering -- though I've never worked in the field) 
as "a two-dimensional projection of a three-dimensional reality". So in 
essence, you have the same analytical and mathematical mind, just patterned 
in a somewhat different (at least to them) direction.

>It is a lot less handy when it comes to historical costume because it is 
>almost impossible for me to follow a pattern or do something "right".  I 
>always have a better idea.

Reminds me of an incident that happened one Saturday night in college, when 
I was baking bread... I started (surprisingly enough for me!) with a white 
bread recipe, but substituted 2 c. barley flour for some of the white 
flour. One of my housemates, upon hearing this, said, "I knew it! I knew 
you couldn't just make a plain white bread!" Upon reflecting... what he 
said was true. I seem to have this philosophical aversion to baking *white* 
bread....

>And, it seems that my children, despite my daughter's obsession with 
>dance, are following the example of my family rather than my own.  I seem 
>to be the cuckoo artist in a nest of engineers.

Next time they get at you (if they do), don't say you're an *artist*. Say 
you're a "textile manipulation engineer" or a "garment engineer" or a 
"raiment engineer" or a "garment research scientist" or something like that 
<weg>...



Brenda, who lives in a city where garbage collectors are called "sanitation 
engineers"
webwarren@earthlink.net


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Subject: Re: [h-cost] Re: nicole's ghost
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Date: Thu, 2 Jan 2003 07:06:25 -0600
Status: RO

Me too  Please !!

Diane
----- Original Message ----- 
From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Sent: Wednesday, January 01, 2003 8:14 PM
Subject: RE: [h-cost] Re: nicole's ghost


> Me too-
> 
> Sg
> 
> 
> >-----Original Message-----
> >From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> >Behalf Of AlbraKat@aol.com
> >Sent: Wednesday, January 01, 2003 6:52 PM
> >To: h-costume@indra.com
> >Subject: Re: [h-cost] Re: nicole's ghost
> >
> >Nicole---
> >I happen to also be very very interested in this as well---could you
> also
> >mail me privately---
> >thanks  so very much---
> >Albra
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Fri, 03 Jan 2003 06:18:35 -0700
Status: RO

Oooh! I like those! And for entirely different reasons from liking
Bjarne's grandfather's painting, or my great-grandfather's painting!
Thanks for sharing!
--sue, entirely disposed to be fickle where artistic tastes are
concerned! <g>

Penny Ladnier wrote:
> 
> Oh, Sue... you have taken my heart!!!  I love murals!!!!!  This is wonderful
> that you found your grandfather's work online.
> 
> Looking at it, I remembered where I found my love for art.  When I was in
> 4th and 5th grade I went to school located in what was an old high school.
> The auditorium was filled with murals from a locally famous artist named
> Walter Anderson. http://www.walterandersonmuseum.org/  The murals were the
> founding of the Gulf Coastal Region of Mississippi and Alabama.
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Date: Fri, 03 Jan 2003 06:21:22 -0700
Status: RO

I think I'm getting both, myself <g>.
Well, one set for myself, and maybe another set to split among my
siblings and cousins.
I'll have to find a credit card that didn't get melted by the recent
holidays, though! <g>
--sue

laurie wrote:
> 
> wow!! i wish i could see the "india" panel. how beautiful!
> hmmmm, should i get the postcards, or the book????
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Date: Fri, 03 Jan 2003 08:39:10 -0500
Status: RO

On Fri, 03 Jan 2003 01:08:32 -0800, Kayta wrote:

>...But I never remember, in knitting, how to purl. I must have been taught 
>this 20 times, but that's what doesn't stick for me. I can increase and 
>decrease, cast on and bind off, and do a stitch that is sort-of like 
>purling, for doing ribbing (the stitches end up looking twisted)...

That sounds like the "east-crossing/west-crossing" problem. If I recall 
correctly, that sort of thing means you're either (1) wrapping the thread 
the wrong way about the needle (top to bottom instead of bottom to top, or 
the reverse) or (2) placing the needle through the loop you're purling 
through in the wrong direction (tip to base of the stitch-holding needle 
instead of base to tip, or the reverse). I couldn't *begin* to tell you 
which one goes with which, since it's one of those "English (or is it 
"American"?) knitting versus Continental knitting" types of esoterica with 
which I'm *not* familiar. (I still haven't "gotten" Continental knitting 
style, which I am told works up a lot faster and is a lot more comfortable 
to work with...)


Brenda
webwarren@earthlink.net


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My parents met at the art institute of chicago, both were painters.  Now my 
mom is an art photographer and my dad is a tech writer by day and playwrite 
by nite.  My mom also was into sewing and costumes when I was little, I think 
my love of costume started with the wonderful ballgowns she made for my 
little women madam alexander dolls.  My aunt has always made beautiful quilts 
and my great grandmother was also a painter.  So yes, I guess art does run in 
the family.

Cheers,

Loren Dearborn

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
My parents met at the art institute of chicago, both were painters.&nbsp; Now my mom is an art photographer and my dad is a tech writer by day and playwrite by nite.&nbsp; My mom also was into sewing and costumes when I was little, I think my love of costume started with the wonderful ballgowns she made for my little women madam alexander dolls.&nbsp; My aunt has always made beautiful quilts and my great grandmother was also a painter.&nbsp; So yes, I guess art does run in the family.<BR>
<BR>
Cheers,<BR>
<BR>
Loren Dearborn</FONT></HTML>

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In my family it is just the opposite.   My Father started out as a university Mathematics Instructor, and is now an Industrial Engineer, Mom is an Accountant.   My Sister's degree is in Education, Mathematics; and my Brothers are a Computer Scientist and Engineer.   I started out in Theater and Film, then finished up in Library Science.   I sew, spin yarn, tablet weave, do theater work.  One of the things I have never been able to get a handle on is drawing/painting.  

Mary S.

*********************************************************
Mary M. Spila
Reference Librarian
East Shore Area Public Library
Dauphin County Library System
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Fax:  717-652-5012
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My father was a dramaturg, director, actor etc.  He was also a very
talented musician, and seamster (is that a word?).  He knit, taught tap
dance and spoke 18th century German!  My mother was an actress and
director.  They met in school.  She was incredibly creative, had
excellent interior design sense.  They both gardened and cooked
extensively.  My sister is a graphic illustrator (and a nurse) and my
brother is a master carpenter and building contractor.  
 
Me-I am a geek engineer and sewer! I can't carry a tune in a bucket and
my kindergarten teacher was always yelling at me for coloring outside
the lines!!   
 
Sg
 
 

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a nurse) and my brother is a master carpenter and building =
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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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I can&#8217;t
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Problems with knitting (WAS: RE: Problems with Crocheting)
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Date: Fri, 03 Jan 2003 07:41:02 -0800
Status: RO


>>...But I never remember, in knitting, how to purl. I must have been 
>>taught this 20 times, but that's what doesn't stick for me. I can 
>>increase and decrease, cast on and bind off, and do a stitch that is 
>>sort-of like purling, for doing ribbing (the stitches end up looking 
>>twisted)...
>
>That sounds like the "east-crossing/west-crossing" problem. If I recall 
>correctly, that sort of thing means you're either (1) wrapping the thread 
>the wrong way about the needle (top to bottom instead of bottom to top, or 
>the reverse) or (2) placing the needle through the loop you're purling 
>through in the wrong direction (tip to base of the stitch-holding needle 
>instead of base to tip, or the reverse). I couldn't *begin* to tell you 
>which one goes with which, since it's one of those "English (or is it 
>"American"?) knitting versus Continental knitting" types of esoterica with 
>which I'm *not* familiar. (I still haven't "gotten" Continental knitting 
>style, which I am told works up a lot faster and is a lot more comfortable 
>to work with...)

That your lengthy, and probably correct, explanation doesn't make sense to 
me as I read it is probably the problem.  I'm ambidextrous and dyslexic.


Kayta

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Subject: [h-cost] affair of the necklace
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Date: Fri, 3 Jan 2003 16:10:35 +0100
Status: RO

Have any of you seen this movie?
Here is a great link with lots of beautifull photos even of the costume
drawings. It is if you can use flash.
I really must have it!
http://affairofthenecklace.warnerbros.com/#

Back to the sackdress.
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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From h-costume-admin@indra.com  Fri Jan  3 12:13:44 2003
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Date: Fri, 3 Jan 2003 09:14:15 -0800 (PST)
Status: RO

Hello all.

I was wondering if anyone can direct me to a fabric
store up in the Bay Area that might carry lawn.

I've only been up here about 6 months and I have
located Hancock Fabrics, Poppy's, and Stone Mountain
Daughters, but none of them cary lawn.  

Any other suggestions?

Sandra

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Subject: Re: [h-cost] Looking for Fabric in the Bay Area
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Date: Fri, 3 Jan 2003 12:25:18 -0500 (EST)
Status: RO

I know that http://www.mini-magic.com/ sells fabrics for doll clothing,
and has a wide variety of very sheer cotton batistes, lawns, etc.

Don't know of any stores in your area, unfortunately.

Good luck,

Drea


On Fri, 3 Jan 2003, Sidonia Ros wrote:

> Hello all.
>
> I was wondering if anyone can direct me to a fabric
> store up in the Bay Area that might carry lawn.
>
> I've only been up here about 6 months and I have
> located Hancock Fabrics, Poppy's, and Stone Mountain
> Daughters, but none of them cary lawn.
>
> Any other suggestions?
>
> Sandra
>
> __________________________________________________
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> Yahoo! Mail Plus - Powerful. Affordable. Sign up now.
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> h-costume@mail.indra.com
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>

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Subject: Re: [h-cost] Need Source for Journals, Dissertations, etc.
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Date: Fri, 03 Jan 2003 11:26:03 -0800
Status: RO

12/30/2002 7:32:38 PM, martyr@gti.net wrote:

>Hey People,
>I have a book source-related question...
>Does anyone know of a web site (or actual store) that sells
>doctoral dissertations &/or scholastic journals?

UMI sells doctoral dissertations & theses.  http://www.umi.com/
As a librarian, I can't say NO affiliation, but my library has very good relations with them.  They are the people who 
do Digital Dissertations, ProQuest, Factiva, and a number of other spiff databases.

>I am looking for a specific issue of  "Theater Journal" in either paper
>or downloadable form for personal research. 

Johns Hopkins publishes it.
http://www.press.jhu.edu/press/journals/tj/tj.html

However, if you live in the United States, the easiest way to get the article(s) you need is to visit your local 
library.  The nearest university library may carry it, or have electronic access, and if they don't, they have a neat 
service called InterLibrary Loan. ILL can get you a copy of an article to keep, or a book the library doesn't own to 
borrow for a short while.  It may cost you a nominal fee, but it will be less than the cost of buying.

>>>One site has it
>for download (muse.jhu.edu), but it isn't available to the general
>publicfor some reason. 

Project Muse is a subscription database.  We pay lots and lots of money for access to it.

Libraries are your friend!

Christina Biles
Digital Library Services
Oklahoma State University Library



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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Fri, 3 Jan 2003 12:15:24 -0600 (CST)
Status: RO


Even given that the OED is often an incomplete source for clothing-word
definitions (because of the limitations of the scholarship on costume
history available to the authors), I am quite charmed to discover that
J.R.R. Tolkien wrote the dictionary entry for "waistcoat." This tidbit
comes from a longer (but interesting article) on his work for the OED:

http://www.oed.com/public/news/0206.htm#tolkien

--Robin


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Date: Fri, 03 Jan 2003 10:26:51 -0800
Status: RO

I have been thinking about what I wrote last night about having trouble 
following directions and historical authenticity and it brought something 
up for me.

I guess that is... how do you know anyway....  Maybe every source we have 
is the exception rather than the rule.   I mean, obviously they didn't use 
polyester double knit or a nice virgin naugahide, but maybe there are a lot 
of things that would completely stand reenactment on its head.  Say we had 
four period corsets from the Elizabethan instead of two.  Say that the 
tailor who did the queen's clothes had totally revolutionary ideas about 
clothing construction or that she had a medical condition that had to be 
accommodated and that nothing in her wardrobe was representative of the 
clothing of the day other than in outward appearance.

I understand that we have some absolutes.  The ones that I can think of are 
the widths of the cloth that was made based on the width of the looms 
because we know that, I think.  Another one would be that sewing techniques 
would be based on best use of fabric and accommodating hand sewing 
techniques.

I think that another one is that what people know absolutely they don't say 
because you don't have to because everybody knows it.  I would have to 
guess that there is a lot of common knowledge from these early time periods 
that we don't know simply because it was so common.  Part of the universal 
shorthand one could say.

I guess this bothers me because of some of the things that I have heard 
that don't make sense.  Like pockets aren't period.  You cannot convince me 
that something that is as intuitive as pockets is not older than the 
1600's, or even the 800's, even if we don't have evidence of it.  They 
weren't stupid, and yet we say that nobody ever took a piece of scrap cloth 
and sewed it onto their clothing to carry something they wanted with them 
all the time.  Nobody ever cunningly sewed a pocket inside their clothing 
to hide something?

Another thing that has always bothered me is the issue of color.  I 
remember when they restored that medieval stained glass window in one of 
those European churches (a statement that shows me as impossibly angeleno, 
ie born and raised in LA, the cultural center of the modern 
universe).  Everybody was up in arms when it was finished because after 
cleaning, the colors were too modern.  We think we know what colors they 
used, and then faced with the evidence that we were wrong, people get mad 
rather than readjusting their ideas.  Some of our ideas about color are 
based on what we have been able to produce with dye products that we know 
were available to them, but I think that there are other things that we 
don't know.

And then that whole underwear thing... Right, there wasn't a single woman 
before 1800 who really didn't like it when her thighs rubbed together as 
she walked.

Just rambling... It isn't that I don't appreciate the research that has 
been done.  I do.  I especially love the whole bog dress stuff and people 
who say, oh I am going down to Oxford tomorrow to look at medieval wills. I 
guess my point is, well, I am not sure that I have a point.  Maybe it is 
that, no, that isn't it.  Okay, so what do I know about history or 
historical research.  Maybe y'all really do know this stuff 
absolutely.  Okay, maybe that is my point... so what do I know.  maryann

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Date: Fri, 3 Jan 2003 13:55:56 -0500
Status: RO


From: "MaryAnn Jones" <mabse@attbi.com>

(with much snippage of stuff I'm not gonna deal with)

>
> I guess this bothers me because of some of the things that I have heard
> that don't make sense.  Like pockets aren't period.  You cannot convince
me
> that something that is as intuitive as pockets is not older than the
> 1600's, or even the 800's, even if we don't have evidence of it.  They
> weren't stupid, and yet we say that nobody ever took a piece of scrap
cloth
> and sewed it onto their clothing to carry something they wanted with them
> all the time.  Nobody ever cunningly sewed a pocket inside their clothing
> to hide something?
>

But pockets have been found at least as far back as the 1500's.  In Janet
Arnold's Patterns of Fashion (the first one chronologically), there is a
pair of venetians with pockets on the side seams.  Imagine my surprise,
since I had also been told "pockets aren't period!".  They are not made as
we think of pockets today-- personally, I think they make more sense.  They
are centered on the side seam, which allows the seam to support them better.

Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander




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Subject: Re: [h-cost] Looking for Fabric in the Bay Area
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Date: Fri, 3 Jan 2003 11:21:28 -0800
Status: RO

Britex Fabrics http://www.britexfabrics.com in San Francisco is sure to sell
lawn.  I have also found that places that sell sewing machines and teach
classes on heirloom sewing sell the stuff even if they sell very little
fabric in general.

Lisa Sinervo


----- Original Message -----
From: "Sidonia Ros" <sidoniaros@yahoo.com>
To: <h-costume@indra.com>
Sent: Friday, January 03, 2003 9:14 AM
Subject: [h-cost] Looking for Fabric in the Bay Area


> Hello all.
>
> I was wondering if anyone can direct me to a fabric
> store up in the Bay Area that might carry lawn.
>
> I've only been up here about 6 months and I have
> located Hancock Fabrics, Poppy's, and Stone Mountain
> Daughters, but none of them cary lawn.
>
> Any other suggestions?
>
> Sandra
>
> __________________________________________________
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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] authenticity
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Date: Fri, 3 Jan 2003 14:17:04 -0500 (EST)
Status: RO

The cardinal don't of researching and writing about historic costume (and
about researching history in general): Don't use the words "always" or
"never".  %99 of a particular population may have done it a certain way,
but unless you lived your life back then, there's no way anyone will ever
know for sure whether something was or was not always done.

When people are starting out in historic costume research, they tend to
make the mistake of using these words.  The more research you do, the more
you realize you don't know and the more cautious you become using
absolutes in your work. Everyone who's done serious research in historic
costume has had at least one experience where a fundamental assumption
they held about a topic was turned upside down by a source, quote,
picture, or some other newly discovered item. Once this happens, you
start assuming a lot less and examining the assumptions you have in much
greater detail.

 It sounds like you've gotten pretty far along the costume research road
and are critically re-examining your assumptions and those of the sources
you read, as well as doing primary research of your own.  (What are you
researching in the wills?)


>
> I guess that is... how do you know anyway....  Maybe every source we have
> is the exception rather than the rule.   I mean, obviously they didn't use
> polyester double knit or a nice virgin naugahide, but maybe there are a lot
> of things that would completely stand reenactment on its head.  Say we had
> four period corsets from the Elizabethan instead of two.  Say that the
> tailor who did the queen's clothes had totally revolutionary ideas about
> clothing construction or that she had a medical condition that had to be
> accommodated and that nothing in her wardrobe was representative of the
> clothing of the day other than in outward appearance.

All possibilities...but at some point the researcher or re-enactor has to
say, "OK, I'm going to take the existing body of extant corsets and
consider them representative of all corsets of the period."  If more
information does come to light, the current stance will have to be
reconsidered; until then, we've got to do the best with what we've got.

All we can do is base our assumptions on the material available to us.
For the Elizabethan corset as an example, this would be material corset
remains, literary references to corsets, tailor's bills, account records,
inventories, and investigation into all of the things that made up
corsets in the above references: leather, whalebone, linen, thread.
Researching historic clothing and patterning in general will also help
shed light on particular aspects of corsets. "Completely authentic" is
always a moving target, which will change with every scrap of information
discovered on the topic.

>
> I guess this bothers me because of some of the things that I have heard
> that don't make sense.  Like pockets aren't period.  You cannot convince me
> that something that is as intuitive as pockets is not older than the
> 1600's, or even the 800's, even if we don't have evidence of it.  They
> weren't stupid, and yet we say that nobody ever took a piece of scrap cloth
> and sewed it onto their clothing to carry something they wanted with them
> all the time.  Nobody ever cunningly sewed a pocket inside their clothing
> to hide something?

Actually, there is evidence of pockets in the 1500s.  But I get what
you're saying. Again, anyone saying that "pockets absolutely did not
exist" should be saying "to the best of our knowledge, pockets did not
exist" or "based upon current archeological finds, pockets did not exist."
If there is a complete dearth of literary, pictoral and material examples
of an item in an area where there are a substantial number of literary,
pictoral and material examples of other costume items, the statistics
strongly favor the possibility that the item in question didn't exist; but
even then there are no certainties.
 >
> Another thing that has always bothered me is the issue of color.  I
> remember when they restored that medieval stained glass window in one of
> those European churches (a statement that shows me as impossibly angeleno,
> ie born and raised in LA, the cultural center of the modern
> universe).  Everybody was up in arms when it was finished because after
> cleaning, the colors were too modern.  We think we know what colors they
> used, and then faced with the evidence that we were wrong, people get mad
> rather than readjusting their ideas.  Some of our ideas about color are
> based on what we have been able to produce with dye products that we know
> were available to them, but I think that there are other things that we
> don't know.

There are certainly tricks of the trade used back then that we have lost
over the centuries. Sidestepping the whole complex issue of color in
garments as opposed to color represented in painting, the best way to know
what colors they had to wear is looking at textile remains.  There are
many hundreds of textiles and brocades from the 15th and 16th centuries
available to look at, and a smaller number from the 13th & 14th centuries.
Another way to research color is to find period dye recipes and try to
recreate some of the colors which were described.

The more you read and study and examine a particular area of costume, the
more actual garments you examine and inventories you read and paintings
you see, the more the various bits of information you have on a topic
begin to feed back into eachother, reinforcing some theories
regarding costume and making other theories unlikely.

This is a fun topic!

Drea


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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
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Subject: RE: [h-cost] authenticity
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Date: Fri, 3 Jan 2003 14:36:02 -0500
Status: RO

Well, where does one find wills and what not?  I mean, I've been studying
Italian paintings  for forever now, but I don't even know where to begin to
try and find some wills.  I'm in the USA, so it's not like I can take a day
trip to Florence.  I've read Jacqueline Herald's book, and Elizabeth
Birbari's, and I don't know where to go from here...

Sorry about the vent!

Apollonia

Signora Apollonia Margherita degli Albizzi
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
immane mittam.**


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Subject: [h-cost] Tolkien's Hundred Eleventh Birthday today
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Date: Fri, 3 Jan 2003 14:43:06 -0500
Status: RO

Today is the auspicious 111 birthday of the LoTR author - from which we have
had so many interesting costuming discussions!  (obligatory costuming
content).
Anyone throwing a birthday party celebration?
Rowena

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Date: Fri, 03 Jan 2003 14:51:33 -0500
Status: RO

Warning:  I'm in a philosophical mood today.

I think that when one is wrestling with the attempt to be "authentic" there
is a constant struggle with the following questions:

1.  What we do we "know",  based on the evidence?
This can be a lot, but only if there is a lot of extant material and other
evidence.  Since I deal with time periods that are sorely lacking in both,
there isn't a lot that I "know".  And even the state of what I "know"
changes constantly, thank goodness!  Isn't it wonderful that people keep
digging things up?  Personally, I'm still waiting for someone to dig up a
paisley dress from 16th century England. Until then I read, and look...and
read, and look... it's all I have.  And always take what I think I "know"
with a grain of salt.

2.  What do we "think" they did, based on logic, intuition, and whatever
else guides us? 
We might be absolutely "spot on" in our conclusions.  However, modern logic
is often not that of the time period, just as the aesthetics of beauty
change over time.  However galling it is to admit, just because we think
they should of done it, doesn¹t mean they were smart enough to do it.
(Silly people!  Whatever were they thinking?) Remember the Victorian
costuming "experts" who explained away much based on their view of the
world.  I would always advise tiny baby steps away from what we "know", not
giant strides.

3.  What do you personally want to do with it your attempts at authenticity?
If you want to win competitions, or if you value the opinions of others,
then you will have to accept the fact that you can't get around #1.  How
well you do with your arguments for  your other conclusions will depend upon
your persuasive ability, and the receptivity of the judges, be they formal
or not.  But be prepared to fight the good fight; and be prepared to lose on
occasion.

4. In the end, how far are you willing to go for your authenticity?
I don't go as far as many people I know.  I find that I am quite often more
interested in the knowledge than in my own execution.  I cheat quite often.
Sometimes I am at peace with my decisions, and other times I wish I had done
things differently. It is my own ongoing struggle.

Things to think about.
With no easy answers.
Makes life interesting, though!

Grace/Jessamyn
On a rainy Friday afternoon...

 
 


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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Tolkien's Hundred Eleventh Birthday today
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Date: Fri, 3 Jan 2003 11:58:19 -0800 (PST)
Status: RO


--- Rowena <sleepyunicorn@citlink.net> wrote:
> Today is the auspicious 111 birthday of the LoTR
> author - from which we have
> had so many interesting costuming discussions! 
> (obligatory costuming
> content).
> Anyone throwing a birthday party celebration?
> Rowena
> 
> 

*lol*  nope, just a feast--wearing costumes of course!

Angharat

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] authenticity
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Date: Fri, 3 Jan 2003 20:29:43 +0000 (GMT)
Status: RO

 --- MaryAnn Jones <mabse@attbi.com> wrote: > 
> Just rambling... It isn't that I don't appreciate the research that has 
> been done.  I do.  I especially love the whole bog dress stuff and people 
> who say, oh I am going down to Oxford tomorrow to look at medieval wills. I 
> guess my point is, well, I am not sure that I have a point.  Maybe it is 
> that, no, that isn't it.  Okay, so what do I know about history or 
> historical research.  Maybe y'all really do know this stuff 
> absolutely.  Okay, maybe that is my point... so what do I know.  maryann

Maryann, I am afraid that I have to agree that I do NOT get your point. What is
it you are trying to say? 

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Tolkien's Hundred Eleventh Birthday today
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Date: Fri, 3 Jan 2003 14:45:26 -0600 (CST)
Status: RO


On Fri, 3 Jan 2003, Rowena wrote:

> Today is the auspicious 111 birthday of the LoTR author - from which
> we have had so many interesting costuming discussions!  (obligatory
> costuming content). 

And, as we all know, that's pronounced "eleventy-first."

> Anyone throwing a birthday party celebration?

You might find one in your area by clicking the "party" link on this page,
which also tells you how to participate in the worldwide toast.

http://www.tolkiensociety.org/toast/index.html

--Robin


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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
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Date: Fri, 3 Jan 2003 15:48:08 -0500
Status: RO

I guess authenticity is in the eye of the beholder...  :)  Those were great
questions, Jessamyn.

I would really love to be authentic, in everything I do in the SCA.  But I
like my sewing machine and food processor.  I do, however, want to look like
I stepped out of a painting.  Where in lies the rub.  I can make a dress
from a painting, but I cannot afford the silk velvet.  It seems like to me,
that a person can always be one more step authentic than they are.  But I
really don't want to shear my own sheep.  :)

I love learning and books, and want to learn more.  But I guess I need get
cozy with a librarian, cause I don't know where to begin.  I'll I have done,
at this point, is look at paintings online and some extant textiles.  I have
read the major books on Italian costuming, and don't know where to go from
there.

Obviously, the gloomy weather and having my two little boys off from school
these past two weeks are starting to get to me.  :)

on the other hand, I received the Virtue and Beauty book for Christmas, and
am devouring that.  Now I just need to give my hubby hints about what to buy
me for my birthday...

Apollonia

Signora Apollonia Margherita degli Albizzi
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
immane mittam.**

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Date: Fri, 3 Jan 2003 15:32:44 -0600
Status: RO

Something that Apollonia just wrote brought up an issue that I have long
been pondering. She mentioned that everyone can be more authentic than
they are, but she didn't want to shear her own sheep. And while I
certainly understand the sentiment, it shows a fundamental assumption
that I suspect may be American in origin. The idea that people in the
Middle Ages did everything to supply themselves. That it would be MORE
authentic to the time to raise and shear one's own sheep, weave and dye
the wool, and then cut and sew the garment yourself. If I am not
mistaken, for most of the Middle Ages, various aspects of cloth
production were pretty well specialized and compartmentalized with dyers
guilds, weavers guilds, mercers guilds, and tailors guilds all making
sure that no one infringed on their little piece of the moneymaking cloth
production business. So therefore it wouldn't actually be more authentic
to shear your own sheep and etc, because very few people in the Middle
Ages would have been involved with the ENTIRE cloth/clothing production
cycle. Their involvement would have been in one specialized area- and
sometimes that area would have been simply purchasing it from the local
mercer. Could this assumption be a leftover from the semi-mythical
American frontier where supposedly (and I'm not even sure of this one)
each frontier family had to make all the necessary items for their own
survival without aid of merchants or traders? 


Just joining in on the pondering,

Karen

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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 3 Jan 2003 16:57:56 -0500 (EST)
Status: RO


I think part of this problem comes from the fact that we now lack the
resources that medieval clothworkers and tailors took for granted--finding
yarn or cloth made from sheepwool similar to that of the time, carded,
spun and fulled in a medieval or renaissance manner, is pretty much flat
out impossible (unless you have friends as nuts about their areas of
expertise as we are. :)  If you were serious about getting the absolute
most supercalifrailistic authentic article possible, you probably would
have to do the work from the sheep out, or hunt down someone with the
required expertise to do it for you in the correct way.

Drea


On Fri, 3 Jan 2003 seamstrix@juno.com wrote:

> Something that Apollonia just wrote brought up an issue that I have long
> been pondering. She mentioned that everyone can be more authentic than
> they are, but she didn't want to shear her own sheep. And while I
> certainly understand the sentiment, it shows a fundamental assumption
> that I suspect may be American in origin. The idea that people in the
> Middle Ages did everything to supply themselves. That it would be MORE
> authentic to the time to raise and shear one's own sheep, weave and dye
> the wool, and then cut and sew the garment yourself. If I am not
> mistaken, for most of the Middle Ages, various aspects of cloth
> production were pretty well specialized and compartmentalized with dyers
> guilds, weavers guilds, mercers guilds, and tailors guilds all making
> sure that no one infringed on their little piece of the moneymaking cloth
> production business. So therefore it wouldn't actually be more authentic
> to shear your own sheep and etc, because very few people in the Middle
> Ages would have been involved with the ENTIRE cloth/clothing production
> cycle. Their involvement would have been in one specialized area- and
> sometimes that area would have been simply purchasing it from the local
> mercer. Could this assumption be a leftover from the semi-mythical
> American frontier where supposedly (and I'm not even sure of this one)
> each frontier family had to make all the necessary items for their own
> survival without aid of merchants or traders?
>
>
> Just joining in on the pondering,
>
> Karen
>
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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 3 Jan 2003 16:30:33 -0600
Status: RO

Hi Drea,

Yep, I understand why that's the way we do it if we want an end product
of comparable form. But I think that some people think that it's a BETTER
way to do it, that it makes it MORE authentic somehow. It's only a
stop-gap measure for us, it's not the way things worked in period. I
think that gets lost sometimes. Of course it also opens the issue of: Can
we as modern people who haven't been trained in these crafts and
techniques in the way, say, a medieval weaver might have been ever really
make the kind of cloth that they did? Most of the time when I see modern
attempts at weaving, it looks much more like a 1970's 'Arts-N-Crafts'
sort of 'make place mats for your table' kind of weave than the period
examples which I have seen (few in person, many more in books). Also, as
a spinner myself, I can tell you that most modern spinners don't spin to
the quality needed to reproduce medieval cloth. And finding enough people
to spin fine woolen thread on drop spindles (or even Great Wheels if you
are working late enough in period) so that you will finish before the
turn of the next century is going to be a project in and of itself!
Compromises abound! I'd rather buy a good modern wool cloth, and full and
trim it myself so that I can get the darn costume made while I'm still
alive to wear it! (I realize things took much less time in period, but
then the whole system was working to support itself, quite unlike today!)


Karen

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From h-costume-admin@indra.com  Fri Jan  3 17:50:37 2003
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Date: Fri, 03 Jan 2003 16:52:00 -0600
Status: RO

Sheryl Nance-Durst wrote:

> Email me the list of the books and I can look them up on OCLC
> (a major ILL network available to libraries). If it's in there,
> I can email you with the info, then you take it to your local library
> and request it.
> 
> Sheryl Nance-Durst
> [Who loves being a librarian - it supports her book habit]

Dangerous, Dangerous!  :)  One of my local libraries gives patrons
on-line access to the OCLC.  Now I can come up with lots of requests to
keep my ILL librarian happy.  She actually pouts if I show up without
any requests.

--Charlene

-- 
Forgiveness does not mean ignoring what has been done or putting a false
label on an evil act.  It means, rather, that the evil act no longer
remains as a barrier to the relationship.  -- Martin Luther King Jr.
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From: kris <ionization@shaw.ca>
Subject: Murals - Re:[h-cost] Bjarne's an inspiration!
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Date: Fri, 03 Jan 2003 15:24:53 -0800
Status: RO

I'm wondering if anyone's had any luck downloading the screensavers for any 
of the murals. I keep getting an "The URL may be incorrect.
The parameters passed to this resource may be incorrect. A resource that 
this resource relies on may be encountering an error.
For more detailed information about the error, please refer to the HTML 
source for this page." error. I've emailed the site people, but they can't 
help me other than to mail me a disk... which probably wouldn't help 
anyway, as I don't have a floppy drive :] If anyone has them (I'm most 
interested in "Merlin" and "Venice, The Musicians"), could you please 
privately email them to me? Thanks!

kris


 > And in more ways than one!
 > It never occured to me, until I had one of those "well, duh!" moments,
 > looking at the link he provided for his grandfather's painting, that
 > maybe I could find _my_ great grandfather's work online.
 > Gawd bless Google, 'cuz there he is!
 > It turns out that my memory is pretty faulty--the murals are located in
 > Norwalk, CT, and are part of a Depression-era collection of paintings
 > for a number of public buildings in Norwalk.  And the subject was Marco
 > Polo.  (geez, but this is embarassing!)
 > However, here's the link to the first painting in the series....
 > http://www.norwalktransit.com/murals36.htm
 > It links to the others that they have webbed.  Interesting costume
 > interpretations are especially noticeable in the one titled "Venice, the
 > musicians."
 > This is _so_ cool!
 > --sue

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Grace Morris <gmorris@providenceday.org>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 3 Jan 2003 20:09:53 -0500
Status: RO

On Friday 03 January 2003 02:51 pm, Grace Morris wrote:
[text cut here]
> 2.  What do we "think" they did, based on logic, intuition, and whatever
> else guides us?
> We might be absolutely "spot on" in our conclusions.  However, modern logic
> is often not that of the time period, just as the aesthetics of beauty
> change over time.  However galling it is to admit, just because we think
> they should of done it, doesn¹t mean they were smart enough to do it.

Or, for that matter, that they would have wanted to do it if they had thought 
of the idea.  Tastes do change in 500 years, you know (or even in 5 months).  
:-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Fri, 03 Jan 2003 16:35:06 -0800
Status: RO


> Well, where does one find wills and what not?  I mean, I've been
> studying Italian paintings  for forever now, but I don't even know
> where to begin to try and find some wills.  I'm in the USA, so it's
> not like I can take a day trip to Florence.  I've read Jacqueline
> Herald's book, and Elizabeth Birbari's, and I don't know where to go
> from here...

One thing that helps is to get away from the idea that you can't get 
costuming information anyplace but in costume books.

For example, try looking in history books. They can give you ideas 
(if they are well footnoted and bibliographied) where to look for 
more information.

An example Apollonia might be interested in (if she is interested in 
mid15th C Tuscan Valley) are books by Christiane Klapisch-Zuber (and 
her frequent co-author Herlihy.) While you don't necessarily find 
direct costume related information in such books, you do find out a 
lot more about the people (which can help with understanding about 
some of their thought patterns and ways of doing things.) You also 
can get information about other available manuscripts. Again, look at 
the footnotes and bibliographies.

And look at the footnotes and bibliographies in books. The better 
books will be full of them. (Jacqueline Herald has lots.)

It's one of those "think outside the box" things.

I like to tell people about something I experienced. I was discussing 
(during a competition) the "lack of information about Moorish Spain" 
with someone. She was talking about how she couldn't find a single 
book which talked about the subject and couldn't find any paintings 
either. I happened to have one of her reference books for another one 
of her projects in my hand (a book on the Cantigas de Santa Maria) 
and was flipping through as I talked with her. Then I handed her 
*her* book: it was full of woodcuts from the same time in Moorish 
Spain where she was researching. She had had the book the whole time 
but was over-compartmentalizing ("this is a music book, and wouldn't 
have useful costume things in it.") 

Often you find more and more books, especially if you are talking 
with others about your interests. That's how I found out about Levi-
Pizetsky's Italian Costuming books (covering ancient through 19th C 
in several *very* large volumes. Fortunately, most of the Middle Ages 
is in a single volume.)

Also, cruise used book stores (in person or on line.) Sometimes 
you'll find the strangest things in the strangest places (like my 
book which is a facsimile of the Weaver's Guild documents from 
several time periods. It was just sitting on a shelf with a bunch of 
books about cooking. Go figure.)

It sounds like you've made a good start. Just keep going!

Kat Russell
<kat@grendal.rain.com>

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Date: Fri, 03 Jan 2003 16:35:07 -0800
Status: RO


> I guess that is... how do you know anyway....  Maybe every source we
> have is the exception rather than the rule.   I mean, obviously they
> didn't use polyester double knit or a nice virgin naugahide, but maybe
> there are a lot of things that would completely stand reenactment on
> its head.  Say we had four period corsets from the Elizabethan instead
> of two.  Say that the tailor who did the queen's clothes had totally
> revolutionary ideas about clothing construction or that she had a
> medical condition that had to be accommodated and that nothing in her
> wardrobe was representative of the clothing of the day other than in
> outward appearance.

The more pieces we have, the nicer it is. However, you have to go 
with what you have available and not try to go with your modern ideas 
if at all possible. If we only have one corset from 16th C England, 
it is still more likely that they were made like that than that they 
were made like a modern theatrical corset.

You can also look for other sources of information. Sure, they might 
not have another corset, but what do other sources (such as the 
painting of Lady Vernon as a corset example, of wills and 
inventories, etc) have to add to that information.

Ideas also come from somewhere and mutate into other things. So, it 
is highly unlikely that "the tailor who did the queen's clothes" 
would have a "revolutionary idea" that they used. Look at what was 
being done in times as close to the one of interest to see how they 
were doing it. For example, in corsetry we have several 17th and 18th 
C exant samples. While the neckline, waist length and some of the 
specifics such as the angle of the boning and the like change over 
time, there are some similarities. Those would be very likely to be 
more consistent in previous times. So, if the one corset in a 
specific time period is all we have from that time period, the things 
that are similar between that and one from shortly thereafter show 
that it was not just a "revolutionary idea".

As to specific things done because of physical differences, if you 
are the Queen and these changes are made, chances are very good that, 
even though others in that time don't have the same problem, the rest 
of the population *will* start imitating them. (It is believed that 
bad feet in a King was the reason why there was a change in men's 
shoe wear so that they became much wider to the point where they 
looked in some cases like duck feet.)

> I think that another one is that what people know absolutely they
> don't say because you don't have to because everybody knows it.  I
> would have to guess that there is a lot of common knowledge from these
> early time periods that we don't know simply because it was so common.
>  Part of the universal shorthand one could say.

Common knowledge isn't written down as much as we would like, but 
that doesn't mean that it can't be gleaned by a persistent 
researcher. And by looking at what things were going on before and 
after a specific time we can get a better idea about the evolution of 
"common knowledge" which gives us insights.
 
> I guess this bothers me because of some of the things that I have
> heard that don't make sense.  Like pockets aren't period.  You cannot
> convince me that something that is as intuitive as pockets is not
> older than the 1600's, or even the 800's, even if we don't have
> evidence of it.  They weren't stupid, and yet we say that nobody ever
> took a piece of scrap cloth and sewed it onto their clothing to carry
> something they wanted with them all the time.  Nobody ever cunningly
> sewed a pocket inside their clothing to hide something?

While you are correct that no one knows everything about costuming 
(where is that time travel bubble when you need it!), it doesn't mean 
that something that is "intuitive" to us would have been done even if 
we can't find examples of it. Our "intuition" is based on our 
experiences, which are modern. It is still better to go with what we 
*do* know than to start using modern intuition.

For example, because of modern chemistry and physics, we have a 
pretty good understanding of how an electric light works. To someone 
with an education covering this, the electric light seems pretty 
intuitive. So then, why is it that it didn't come along until now.

Sometimes it's because they didn't have access to the same 
information we have. Sometimes technology had not advanced to the 
point where it would be thought of that way. Sometimes there were 
strong cultural reasons for not doing something "differently." And 
sometimes modern methods actually *don't* work as well as doing it by 
hand. (Think of trying to do cartridge pleats totally by machine. In 
cooking there are also examples where you would definitely ruin the 
foodstuff, such as a dessert, by using a blender or food processor 
rather than crushing the, for example, strawberries individually. It 
may *seem* intuitive that they would come out the same, but they 
*don't* in practice.)

And just because we find a single example of something (like the 
leather bikini bottom at the MOL), doesn't mean that they were in 
common usage. Knowing *who* it had belonged to and *what* they did 
for a living sometimes can tell us whether this was an aberration, 
something unusual done for health reasons or something not talked 
about much but which was very common in time.

There are many things that were "thought of" in medieval and 
renaissance times, for example, that were never made until the past 
century. So the old adage "if they would have thought of doing it 
this way they would have done it" is hogwash. 

Modern people (and Victorians, for that matter) have a rather 
patronizing attitude toward the past. Often they think that the 
people of the past were stupid or barbarians. They weren't. They may 
have done things differently, but they used logic just as solid as 
ours for doing things the way they did them.

> Another thing that has always bothered me is the issue of color.  I
> remember when they restored that medieval stained glass window in one
> of those European churches (a statement that shows me as impossibly
> angeleno, ie born and raised in LA, the cultural center of the modern
> universe).  Everybody was up in arms when it was finished because
> after cleaning, the colors were too modern.  We think we know what
> colors they used, and then faced with the evidence that we were wrong,
> people get mad rather than readjusting their ideas.  Some of our ideas
> about color are based on what we have been able to produce with dye
> products that we know were available to them, but I think that there
> are other things that we don't know.

This is because of how we have seen them over time. However, I 
suspect that if you talk to people who look at several different 
media instead of just a single medium (like stained glass), they 
would tell you that the colors were not correct. Shoot, a modern 
person who knows anything about the chemistry of glass would be able 
to tell you that the muted colors were not original but were the 
effect of light and time on the glass. This mostly points out the 
importance in research to confirm your findings by looking at things 
from many different aspects rather than just the one easiest to get 
to.
 
> And then that whole underwear thing... Right, there wasn't a single
> woman before 1800 who really didn't like it when her thighs rubbed
> together as she walked.

Interesting. Until recently, the Samoan women (who are, if healthy, 
anything but slender, besides living in a place where there is high 
humidity) didn't wear underwear. It seems that if you are not used to 
having something between your legs when you walk, you don't *like* to 
have anything between your legs when you walk as it will chafe 
*more*.

As an example, most modern women frequently wear trousers of some 
sort (shorts, capris, pants, etc.) Some (hi, Nicole) wear them so 
much that dresses are "weird" for daily wear. However, until the past 
50 years or so, women wearing trousers was a sign of "bad things" in 
the eyes of the other women and it "just wasn't done by good women." 
Shoot, when I was in school, we were not *allowed* to wear trousers 
of any sort to school, no matter what the weather. (And it was *very* 
cold in Spokane, Washington USA when I was growing up. Much like the 
midwest in winter or some of the Scandinavian countries.) So, while a 
modern person would say that it couldn't be that girls in the 1950s 
and 60s wouldn't wear trousers in cold weather, I can assure you that 
we didn't. (If we tried, we got expelled from school.) (They let us 
wear snowsuits when the snow was waist high, but they had to come off 
and were put with the coats, and we weren't allowed to wear them for 
recess even though we went outdoors for that.)

This is one of the most common "modern intuitive" problems in 
costuming. Saying "I don't like that, so it makes sense that others 
in history wouldn't have liked it" is incorrect. Sometimes we are 
just too stuck in our own way of doing things to understand that 
others might not want to do it our way.

> Just rambling... It isn't that I don't appreciate the research that
> has been done.  I do.  I especially love the whole bog dress stuff and
> people who say, oh I am going down to Oxford tomorrow to look at
> medieval wills. I guess my point is, well, I am not sure that I have a
> point.  Maybe it is that, no, that isn't it.  Okay, so what do I know
> about history or historical research.  Maybe y'all really do know this
> stuff absolutely.  Okay, maybe that is my point... so what do I know. 

One thing that I've found is that the more I learn, the more I find 
that there is to learn, and how little I really know compared to what 
is out there in the world to learn.

And the more I learn, the more I realize that just because *I* (when 
thinking in like a modern) think it should be that way, the less 
likely it is that someone in a different time would even have 
considered doing it the way a modern would.

Kat Russell
<kat@grendal.rain.com>

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From: kat@grendal.rain.com
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Date: Fri, 03 Jan 2003 16:41:11 -0800
Status: RO

<snip> >Compromises abound! I'd
> rather buy a good modern wool cloth, and full and trim it myself so
> that I can get the darn costume made while I'm still alive to wear it!
> (I realize things took much less time in period, but then the whole
> system was working to support itself, quite unlike today!)

If I'm a tailor or dressmaker in the middle ages or renaissance or 
even later (as opposed to someone out in the reaches who has to be 
more self contained), I would buy my fabric from a merchant. I 
wouldn't make it myself. So, why should I do it now?

There are times when I like trying to do things "from the ground up", 
but it's more of an exercise than a recreation of how it would have 
been done in the past.

Buying the fabric *is* more authentic for the kinds of clothing I 
like to make!

Kat Russell
<kat@grendal.rain.com>

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From h-costume-admin@indra.com  Fri Jan  3 20:33:26 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] authenticity
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Date: Fri, 3 Jan 2003 19:45:13 -0600 (CST)
Status: RO


On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:

<lots of good stuff, including:>

> While you are correct that no one knows everything about costuming
> (where is that time travel bubble when you need it!), it doesn't mean
> that something that is "intuitive" to us would have been done even if
> we can't find examples of it. Our "intuition" is based on our
> experiences, which are modern.

<and lots more good stuff>

What she said.

--Robin, who is too loaded up to write a long post right now and very
grateful that Kat saved me the trouble by saying everything I could have
hoped to, and more ;-)

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Date: Fri, 03 Jan 2003 19:03:03 -0800
Status: RO


>I have been thinking about what I wrote last night about having trouble 
>following directions and historical authenticity and it brought something 
>up for me.

I didn't read your other post, so I'm coming into this fresh.

>I guess that is... how do you know anyway....

When I do a re-creation, I always like to do a typical example, as I find 
it annoying to have to break character to explain what I did.  I research 
as much as possible the look of the period/decade/year I am doing, so I can 
come up with a generic example that looks like what I found people seem to 
have done in that time.

I'd be the first to agree that we, here and now, don't know everything 
'they' knew 'back then', and anyone who claims he/she does should be 
regarded in the same light as a used car salesman.  But most genuine 
experts don't claim absolutes like that.  They can tell you what they think 
they do know, and why they think they know it.  But in any age predating 
mass production and mass availability of garment patterns, there won't be 
absolute uniformity at the time, nor certainty after the fact even among 
experts.

For example, I have found pockets in at least one garment before 1600 (it's 
in Janet Arnold Patterns of Fashion III).  Besides which, if I have a 
pocket that didn't show, unless I was going up for costume judging I'd just 
keep the pocket, and who'd know from the outside?  I have other 
considerations than the character I am portraying would have, and need to 
keep my plastic ID, car keys, and possibly medication, close by me.  Real 
experts can tell you what was common in any period they know, but since 
they weren't there at the time in question, they know better than to spout 
absolutes.

>Maybe every source we have is the exception rather than the rule.   I 
>mean, obviously they didn't use polyester double knit or a nice virgin 
>naugahide, but maybe there are a lot of things that would completely stand 
>reenactment on its head.  Say we had four period corsets from the 
>Elizabethan instead of two.  Say that the tailor who did the queen's 
>clothes had totally revolutionary ideas about clothing construction or 
>that she had a medical condition that had to be accommodated and that 
>nothing in her wardrobe was representative of the clothing of the day 
>other than in outward appearance.
>
>I understand that we have some absolutes.  The ones that I can think of 
>are the widths of the cloth that was made based on the width of the looms 
>because we know that, I think.  Another one would be that sewing 
>techniques would be based on best use of fabric and accommodating hand 
>sewing techniques.
>
>I think that another one is that what people know absolutely they don't 
>say because you don't have to because everybody knows it.  I would have to 
>guess that there is a lot of common knowledge from these early time 
>periods that we don't know simply because it was so common.  Part of the 
>universal shorthand one could say.
>
>I guess this bothers me because of some of the things that I have heard 
>that don't make sense.  Like pockets aren't period.  You cannot convince 
>me that something that is as intuitive as pockets is not older than the 
>1600's, or even the 800's, even if we don't have evidence of it.  They 
>weren't stupid, and yet we say that nobody ever took a piece of scrap 
>cloth and sewed it onto their clothing to carry something they wanted with 
>them all the time.  Nobody ever cunningly sewed a pocket inside their 
>clothing to hide something?
>
>Another thing that has always bothered me is the issue of color.  I 
>remember when they restored that medieval stained glass window in one of 
>those European churches (a statement that shows me as impossibly angeleno, 
>ie born and raised in LA, the cultural center of the modern 
>universe).  Everybody was up in arms when it was finished because after 
>cleaning, the colors were too modern.  We think we know what colors they 
>used, and then faced with the evidence that we were wrong, people get mad 
>rather than readjusting their ideas.  Some of our ideas about color are 
>based on what we have been able to produce with dye products that we know 
>were available to them, but I think that there are other things that we 
>don't know.
>
>And then that whole underwear thing... Right, there wasn't a single woman 
>before 1800 who really didn't like it when her thighs rubbed together as 
>she walked.
>
>Just rambling... It isn't that I don't appreciate the research that has 
>been done.  I do.  I especially love the whole bog dress stuff and people 
>who say, oh I am going down to Oxford tomorrow to look at medieval wills. 
>I guess my point is, well, I am not sure that I have a point.  Maybe it is 
>that, no, that isn't it.  Okay, so what do I know about history or 
>historical research.  Maybe y'all really do know this stuff 
>absolutely.  Okay, maybe that is my point... so what do I know.  maryann
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 03 Jan 2003 18:48:49 -0800
Status: RO


>Something that Apollonia just wrote brought up an issue that I have long
>been pondering. She mentioned that everyone can be more authentic than
>they are, but she didn't want to shear her own sheep.

Call me a city girl.  I carefully picked an SCA period, geographic 
location, and social station, where I was certain my persona wouldn't have 
had to shear her own sheep or spin or weave.  I chose to have my persona 
live in Nuremburg in the mid-1500s, where, if one had money, one could buy 
almost anything (who ever wove the velvet for their own dresses???).  So at 
SCA events I have a persona who didn't have to cook the food I cooked for 
her, doesn't have to sew the dresses I sewed for her, didn't have to build 
the furniture I built for her, and can spend her time doing the things I 
would rather be doing, like embroidery.  She eats with a fork too, someone 
having brought her one from Italy as a gift.

Other people, like Heather Rose Jones, love to do the spinning and weaving 
thing, and picked their personae accordingly.  I think she grew some flax 
once, to experience making linen fabric from it.

But I agree that everyone could be more authentic than they are now.  Most 
of us chose to learn what authentic is, then decide how much of our 
knowledge we will put into practice.

Kayta

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Date: Fri, 03 Jan 2003 21:30:06 -0700
Status: RO

Yeah, ditto what Robin said, and Kat said.  But then, I'm largely into
historical costuming for the authenticity and research.
There are a lot of assumptions that we all make on a daily
basis--decisions, experiences, tools, etc. we just take for granted.  It
is "intuitive" for me, upon entering my dark house when I come home from
work, to reach to the left of the door and flip on the light switch.  It
would have been a learned thing for my great-grandmother.  On the other
hand, she may have felt that moving and living in a corset, in clothing
with full skirts, etc. was pretty intuitive, because it was so familiar
to her.  But me? I had to learn to do it--like remembering to make sure
the chair you're about to sit in isn't going to scoot away from you
because it got pushed back by your petticoats and hoops.  Trust me, I
*know* how embarassing it is to go loudly @ss over teakettle in the
middle of a crowded room (feast hall at an SCA event) because your
skirts moved your chair!
--sue, who loves the learning process above just about anything....

Robin Netherton wrote:
> 
> On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:
> 
> <lots of good stuff, including:>
> 
> > While you are correct that no one knows everything about costuming
> > (where is that time travel bubble when you need it!), it doesn't mean
> > that something that is "intuitive" to us would have been done even if
> > we can't find examples of it. Our "intuition" is based on our
> > experiences, which are modern.
> 
> <and lots more good stuff>
> 
> What she said.
> 
> --Robin, who is too loaded up to write a long post right now and very
> grateful that Kat saved me the trouble by saying everything I could have
> hoped to, and more ;-)
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Loren,

And you are a wonderful seamstress too and very artsy!!!!!!  Now I know
where you got it from!

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  Sat Jan  4 00:26:30 2003
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Date: Fri, 03 Jan 2003 22:18:24 -0700
Status: RO

Ooooh! Good questions, Grace! And I've found it interesting to read
everyone's responses, too! (I dunno whether it's an advantage or a
disadvantage to only have list-email available at home <g>).
<warning, though....my friday-night Irish coffee seems to be making me a
tad verbose! ;-D>

1. I try to remember to look at it all (my costuming, my learning, etc.)
as a process, an evolution, if you will, rather than this little series
of absolutes and rules.  Certainly, my abilities have changed over the
years, and will probably continue to change.  Likewise, my interests
shift around (darnit! I wanna learn it ALL!)  The internet, and
wonderful resources like this list, and the teachers available through
Penny's website, and some *amazing* books that I, or friends, have found
are a continual suprise and delight--and they're sure not something I
had *any* access to, back when I started doing historical costuming
about 15 years ago.
2. I would hope that, in my life, the more I'm exposed to different
peoples and cultures and ideas, the more I'll learn, not just about
them, but about me, and what I take for granted as a woman, and an
American, living in the 21st century.  Whether it's figuring out how
headresses were pinned together in the 14th c., or experimenting with
all the different ways one can manipulate fabric to achieve a certain
look, or (in a more modern example), learning that in Britain, the
pepper is really, really finely ground, and you gotta be careful, or it
will *dump* all over your breakfast eggs <g>.
3. What do I want to accomplish with my forays into more-authentic
historical clothing...hmmm....
I'm in it for the exploration--because it allows me the absolutely
enormous satisfaction of combining two of my greatest loves--learning
(especially history), and working with my hands.  If I want to make a
gown that *could* have been worn by a 14th c. woman in Dublin, I need to
know something of the history, culture, and economics of that city, as
all of those will influence the clothing options, just as they do today.
Secondarily, I'm into historical clothing because I belong to a
re-enactment group, and I need something to wear.  That does not mean,
however, that my interests are in any way restricted to the time period
we cover--I have just as many lovely books on 18th c. clothing and
textiles as I do earlier eras.  And there is this Irish version of a
saque gown I wanna copy *so* bad (it's linen, block-printed with bunches
of flowers)....
4. This one, I suspect, will vary enormously with the individual, since
we're such a divergent group.  Even in my own experiences, it sometimes
shifts, depending on various factors such as the climate in which I live
(both hotter AND colder than the areas of Europe I'm most interested
in), the availability of raw materials AND information, my budget <g>,
etc.  I know there are folks on this list who are into different Faires
and such, and who sometimes play specific roles, or levels of society
(which I find fascinating, even as I admit to not knowing much about
it!), so sometimes you're going to have someone with a limited budget
trying to make clothing for a noble, which can be both frustrating and
fun. The SCA approach is to, more or less, treat us like we're *all*
some sort of minor nobility, unless we specifically choose otherwise. 
So there seems to me, sometimes, to be an emphasis on the glitzier
styles and time periods.  Some people are more successful with it, some
less so.
Someday, Apollonia, I'd *love* to have the money for enough
cut-and-voided silk velvet (none of this rayon pile nonsense) to do a
*real* Elizabethan (complete with actual gold embroidery threads, and
handmade lace, and the whole works), or some of those beeyoootiful
Italian styles, but I sure can't afford it right now.  And I've done my
share, over the years, of Elizabethans made of corduroy, and
princess-seamed cotehardies, and some of them have really worked out
nicely.  But ya know? I've finally gotten to the stage in my life where
I've realized that, with today's resources, it's entirely possible for
me to make an outfit that *is* within my budget, and *is* made of period
materials, and using period techniques.  Most people in the middle ages
and beyond weren't wearing velvets and silks--they were ordinary people,
like you and me, and they wore cottons, and wools, and linens.  *Those*
I can afford, even if it's hard for me to hunt them down! I guess I just
learned to think outside the "I've got to be fancy because I'm dressing
up" box I'd put myself in.
I'm not in this for a contest, or to impress people, and I'm trying not
to draw the distinction I often see people make, between "garb for a
contest" and "garb for the rest of the time." Which is not to say, of
course, that I don't enter contests (I do), nor that I wouldn't mind
impressing, say....somebody like Drea, or Bjarne, or Robin, or
Margo.....If there were no contests, and no one to impress, there'd
still be me, and I'd still be making things.
--sue, quitting while she's ahead (well, and the coffee cup is empty
<g>).


Grace Morris wrote:
> 
> Warning:  I'm in a philosophical mood today.
><lots of good questions snipped>
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From: <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 4 Jan 2003 0:21:17 -0500
Status: RO


> 
> From: seamstrix@juno.com
> Date: 2003/01/03 Fri PM 05:30:33 EST
> To: h-costume@indra.com
> CC: h-costume@indra.com
> Subject: Re: [h-cost] Authenticity-questions to ponder
> 
> Hi Drea,
> 
> Yep, I understand why that's the way we do it if we want an end product
> of comparable form. But I think that some people think that it's a BETTER
> way to do it, that it makes it MORE authentic somehow. It's only a
> stop-gap measure for us, it's not the way things worked in period. I
> think that gets lost sometimes. Of course it also opens the issue of: Can
> we as modern people who haven't been trained in these crafts and
> techniques in the way, say, a medieval weaver might have been ever really
> make the kind of cloth that they did? Most of the time when I see modern
> attempts at weaving, it looks much more like a 1970's 'Arts-N-Crafts'
> sort of 'make place mats for your table' kind of weave than the period
> examples which I have seen (few in person, many more in books). Also, as
> a spinner myself, I can tell you that most modern spinners don't spin to
> the quality needed to reproduce medieval cloth. And finding enough people
> to spin fine woolen thread on drop spindles (or even Great Wheels if you
> are working late enough in period) so that you will finish before the
> turn of the next century is going to be a project in and of itself!
> Compromises abound! I'd rather buy a good modern wool cloth, and full and
> trim it myself so that I can get the darn costume made while I'm still
> alive to wear it! (I realize things took much less time in period, but
> then the whole system was working to support itself, quite unlike today!)
> 
> 
> Karen
> 
    A friend of mine is a weaver at work.  He specializes in historic fabrics and has been doing so for years.  His finished fabrics look no different to me than the originals he copies.  Now it is true that his speciality is NOT medeivial fabric but the technology is the same.  It can be done.  I think that probable that you are relating has more to do with the time spent perfecting the craft than just being modern.  Much of the cloth you are referring to is no doubt made in somebody's freetime rather than on a full time basis.

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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From h-costume-admin@indra.com  Sat Jan  4 00:52:33 2003
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Date: Fri, 03 Jan 2003 22:44:25 -0700
Status: RO

I don't know that it's American, necessarily.  And it's not even
restricted to costuming and clothing--I see similar debate in my other
area of interest (pre-17th c. cooking).  *Some* of American and Canadian
history shows evidence of people living in largely self-sufficient
communities, and our early (relative) isolation from each other, and
from Europe, and the markets of Europe certainly have resulted in some
interesting skills and styles and adaptations.  But I don't think that's
where the push to know things from "sheep to shawl" comes from.  I
think, rather, it's a by-product of people looking at, say, recreating
16th c. Northern Italian cuisine, or clothing worn by the settlers in
Greenland, or the proper way to fasten shut an 18th c. french gown, as
*areas of study.*  If I, as a scholar of things historical, know
something about the different processes that go into making a 14th c.
gown--what type of fibers would have been used, how they were spun, and
dyed, and woven, how the fabric was finished, by whom it was cut out and
sewn, and all the finishing techniques used or not used, then I, as a
scholar of things historical, have a better understanding of my subject,
and will be better equipped to either recreate said garment, or know a
good one when I purchase it.  If I were a woman in 14th c. Europe, I
wouldn't necessarily need to know most of that, because it'd already be
there, and it would be just as commonplace a knowledge set (*this* is in
style, but *this* isn't....and this will last a good while, but this
will need to be redyed because that kind of green fades....) as my
similar knowledge sets are, today (think of "casual Fridays," or net or
cell-phone etiquette).
I don't know who sets or enforces standards in non-SCA historical
groups, let alone the contexts in which authenticity comes up, because
my experience has solely been in the SCA, but this topic comes up a LOT
among the artisans I hang out with (usually in a competition context). 
All I can say is, I perceive a difference in quality of effort between
someone who made her own salt, and grew her own herbs for her salad (on
the one hand), and someone who just purchased those things for hers,
even if the salads are equally tasty.  Just like I perceive a difference
in quality between a gown trimmed in Bjarne's truly droolsome handmade
lace, and the nicest lace I could afford to buy.  Truly, not to in any
way penalize those who don't have access to garden space, or the time to
make their own lace, but to honor those who do learn it.
Does that make any sense? I gnaw on this frequently....especially since
I have friends who don't agree with me! (but then, that just makes
things more....interesting!)
--sue, who really should get off the computer and either go to bed, or
do some more blackwork....(g'night, everyone)

seamstrix@juno.com wrote:
> 
> Something that Apollonia just wrote brought up an issue that I have long
> been pondering. She mentioned that everyone can be more authentic than
> they are, but she didn't want to shear her own sheep. And while I
> certainly understand the sentiment, it shows a fundamental assumption
> that I suspect may be American in origin. The idea that people in the
> Middle Ages did everything to supply themselves. That it would be MORE
> authentic to the time to raise and shear one's own sheep, weave and dye
> the wool, and then cut and sew the garment yourself. If I am not
> mistaken, for most of the Middle Ages, various aspects of cloth
> production were pretty well specialized and compartmentalized
<snipped>
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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 3 Jan 2003 23:52:49 -0600
Status: RO

Hi Ron,


I have occasionally seen reproduction fabrics which are dead-ringers for
the medieval stuff, but MOST of the stuff one sees as hand-woven wouldn't
have been used for sacking in the Middle Ages!  If you have the time and
skills to make it, or the money to buy it, more power to you! However, an
inferior modern product is not more authentic just because it is
handwoven. You are right that most modern weavers are doing it as
hobbyists and are only able to achieve a certain skill level because of
all those life issues that prevent us from doing what we really love (or
most of us anyway!). Their product remains inferior for use as a
historical reproduction fabric. In this case a machine spun and woven
fabric which has the correct thread count and finish would be far better
for a piece of historical clothing than a handspun and woven fabric that
had the incorrect thread count and finish. I have been spinning for 25
years and yet I will bet that there were 10 year olds in medieval
Flanders who could spin far better thread than I can after twice as long
simply because they did it every day and had a defined set of standards
they had to meet or their product wouldn't sell.

My point, and I do have one, is that making a garment 'from the fleece
up' isn't necessarily more authentic or generally better than a garment
made from carefully chosen and prepared machine made fabric simply
because it is 
'hand-woven', nor is making something from fleece to finished garment
particularly authentic for someone  in the Middle Ages. 


Karen

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Date: Sat, 04 Jan 2003 01:05:49 -0500
Status: RO

Hi. I am saving a lot of your responses to this because they are a synthesis of
what I have been trying to tell folks for years. We try our best to recreate
things using what evidence we have to hand. This list connects people of like
interests who share their resources. The more areas we study, the more we know
about a given time period. On the subject of spinning/weaving etc., we can even
say "how many people from our period(s) constructed their own clothes, or even
knew how to if they didn't"? I know of a lot of people that have just given up
because they have decided (or been told) that "you can't be completely 'period'
(meaning authentic), so don't even try". In this case, the journey, not the
destination, is the goal. To tie it in with the Tolkien postings, it is my
opinion that that is what Professor Tolkien was trying to show with his
archetypal tale. So long as we are trying to do our best, our goal is before
us, and our motives are good and honest, we cannot be faulted. Regardless of
the reason for our study, be it Hallowe'en, Renfair, SCA, Living
History/Reenactment, Theater or whatever, doing what we know is "authentic"
can't go wrong, and saying "we don't really know, but this is the best we can
surmise based on the details we do know" shows that we are not giving up, but
pressing forward with our "quest". So long as we are learning (from each other
as well as from other sources), we are progressing. This is why we occasionally
debase ourselves by looking at our early work and having a good laugh at our
own expense, because we realise that we all had to start our journey somewhere.
Hope this makes sense to you (I've been working a long day, 2 shifts, 2
different cities, lotsa fun *not*). Cheers, Mike T.



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From h-costume-admin@indra.com  Sat Jan  4 01:43:35 2003
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Subject: [h-cost] Buying a sewing machine
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Date: Sat, 4 Jan 2003 01:33:44 -0500
Status: RO

Hi all!

My parents are planning on buying me a sewing machine for Christmas. We
didn't have time to shop before, so it will be a late present, but we saw a
couple of machines today and I'm a little lost.

We saw the Pfaff machines but they were bought out by Husqvarna and we're
afraid we might have trouble getting it repaired?

Anyway, we were looking at the Select 1540 (mechanical) and the Expression
2034 (electronic). Are any of you familiar with those machines? Those
electronic ones look very nice, but since I'm probably going to keep it for
a very long time, I want to be certain I'm choosing the right thing.

We also saw the Viking machines, they look niftier and they're less
expensive for very similar functionalities. I'm not sure which model we were
looking at, but comparing with the Husqvarna website it might have been the
Rose model. Or maybe it was Lily. Viking machines seem to all be electronic
now. I'm pretty certain you're all going to say it's a good choice, but
aside from that, any other comments?

So, any advice? Should I drive all the way across town (40 km) to take a
look at the Bernina machines? Should I try to find a Singer retailer to
investigate them too? What about the White machines? Do you think I should
avoid Pfaff because of the change of company ownership?

Help?

:-)

And thanks a lot...

Audrey

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From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] authenticity
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Date: Fri, 03 Jan 2003 22:32:32 -0800
Status: RO

Thanks Drea, that answers a lot of questions. I wasn't commenting on my own 
research, but how impressed I was with what other people are doing (the bog 
dress and researching wills).  I guess I don't really understand a lot of 
stuff about historic research.  The closest I ever came was in college when 
I was a field assistant for a phd student who didn't have the fossil 
knack.  I found him four new species of trilobite in one afternoon that 
completely turned his thesis on its head.

I see ghosts.  I mean, I look at the pictures of those standing stones and 
I feel like the people who built them, who's distant child I am, are 
speaking to me and want me to know what they meant to them.  To have 
accomplished a feat like that, to have carried them all that distance and 
placed them upright, it must have meant something tremendous to them.  You 
want to pass along something like that to your children, you want them to 
know what you value and why.  I am their child, albeit distantly, and I 
feel that they want me to know.  What you wear isn't that compelling, but 
still, it is a part of your connection backwards and forwards.  Maybe that 
is why we like the clothing (not costume) research and the wearing costumes 
and doing reinactment.  maryann

At 02:17 PM 1/3/2003 -0500, you wrote:
>The cardinal don't of researching and writing about historic costume (and
>about researching history in general): Don't use the words "always" or
>"never".  %99 of a particular population may have done it a certain way,
>but unless you lived your life back then, there's no way anyone will ever
>know for sure whether something was or was not always done.
>
>When people are starting out in historic costume research, they tend to
>make the mistake of using these words.  The more research you do, the more
>you realize you don't know and the more cautious you become using
>absolutes in your work. Everyone who's done serious research in historic
>costume has had at least one experience where a fundamental assumption
>they held about a topic was turned upside down by a source, quote,
>picture, or some other newly discovered item. Once this happens, you
>start assuming a lot less and examining the assumptions you have in much
>greater detail.
>
>  It sounds like you've gotten pretty far along the costume research road
>and are critically re-examining your assumptions and those of the sources
>you read, as well as doing primary research of your own.  (What are you
>researching in the wills?)
>
>
> >
> > I guess that is... how do you know anyway....  Maybe every source we have
> > is the exception rather than the rule.   I mean, obviously they didn't use
> > polyester double knit or a nice virgin naugahide, but maybe there are a lot
> > of things that would completely stand reenactment on its head.  Say we had
> > four period corsets from the Elizabethan instead of two.  Say that the
> > tailor who did the queen's clothes had totally revolutionary ideas about
> > clothing construction or that she had a medical condition that had to be
> > accommodated and that nothing in her wardrobe was representative of the
> > clothing of the day other than in outward appearance.
>
>All possibilities...but at some point the researcher or re-enactor has to
>say, "OK, I'm going to take the existing body of extant corsets and
>consider them representative of all corsets of the period."  If more
>information does come to light, the current stance will have to be
>reconsidered; until then, we've got to do the best with what we've got.
>
>All we can do is base our assumptions on the material available to us.
>For the Elizabethan corset as an example, this would be material corset
>remains, literary references to corsets, tailor's bills, account records,
>inventories, and investigation into all of the things that made up
>corsets in the above references: leather, whalebone, linen, thread.
>Researching historic clothing and patterning in general will also help
>shed light on particular aspects of corsets. "Completely authentic" is
>always a moving target, which will change with every scrap of information
>discovered on the topic.
>
> >
> > I guess this bothers me because of some of the things that I have heard
> > that don't make sense.  Like pockets aren't period.  You cannot convince me
> > that something that is as intuitive as pockets is not older than the
> > 1600's, or even the 800's, even if we don't have evidence of it.  They
> > weren't stupid, and yet we say that nobody ever took a piece of scrap cloth
> > and sewed it onto their clothing to carry something they wanted with them
> > all the time.  Nobody ever cunningly sewed a pocket inside their clothing
> > to hide something?
>
>Actually, there is evidence of pockets in the 1500s.  But I get what
>you're saying. Again, anyone saying that "pockets absolutely did not
>exist" should be saying "to the best of our knowledge, pockets did not
>exist" or "based upon current archeological finds, pockets did not exist."
>If there is a complete dearth of literary, pictoral and material examples
>of an item in an area where there are a substantial number of literary,
>pictoral and material examples of other costume items, the statistics
>strongly favor the possibility that the item in question didn't exist; but
>even then there are no certainties.
>  >
> > Another thing that has always bothered me is the issue of color.  I
> > remember when they restored that medieval stained glass window in one of
> > those European churches (a statement that shows me as impossibly angeleno,
> > ie born and raised in LA, the cultural center of the modern
> > universe).  Everybody was up in arms when it was finished because after
> > cleaning, the colors were too modern.  We think we know what colors they
> > used, and then faced with the evidence that we were wrong, people get mad
> > rather than readjusting their ideas.  Some of our ideas about color are
> > based on what we have been able to produce with dye products that we know
> > were available to them, but I think that there are other things that we
> > don't know.
>
>There are certainly tricks of the trade used back then that we have lost
>over the centuries. Sidestepping the whole complex issue of color in
>garments as opposed to color represented in painting, the best way to know
>what colors they had to wear is looking at textile remains.  There are
>many hundreds of textiles and brocades from the 15th and 16th centuries
>available to look at, and a smaller number from the 13th & 14th centuries.
>Another way to research color is to find period dye recipes and try to
>recreate some of the colors which were described.
>
>The more you read and study and examine a particular area of costume, the
>more actual garments you examine and inventories you read and paintings
>you see, the more the various bits of information you have on a topic
>begin to feed back into eachother, reinforcing some theories
>regarding costume and making other theories unlikely.
>
>This is a fun topic!
>
>Drea
>
>
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From h-costume-admin@indra.com  Sat Jan  4 01:46:26 2003
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From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] authenticity
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Date: Fri, 03 Jan 2003 22:35:25 -0800
Status: RO

I guess just asking questions about what do we really know and how do we 
know it.  Actually, Drea answered the questions better than I asked 
them.  I guess I have just been bothered by somethings that I have heard.

At 08:29 PM 1/3/2003 +0000, you wrote:
>  --- MaryAnn Jones <mabse@attbi.com> wrote: >
> > Just rambling... It isn't that I don't appreciate the research that has
> > been done.  I do.  I especially love the whole bog dress stuff and people
> > who say, oh I am going down to Oxford tomorrow to look at medieval 
> wills. I
> > guess my point is, well, I am not sure that I have a point.  Maybe it is
> > that, no, that isn't it.  Okay, so what do I know about history or
> > historical research.  Maybe y'all really do know this stuff
> > absolutely.  Okay, maybe that is my point... so what do I know.  maryann
>
>Maryann, I am afraid that I have to agree that I do NOT get your point. 
>What is
>it you are trying to say?
>
>Nicole
>
>=====
>Nicole Kipar M.A.
>URL: http://www.kipar.org/
>Email: nicole@kipar.org
>
>__________________________________________________
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From h-costume-admin@indra.com  Sat Jan  4 03:31:42 2003
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From: Ella Lynoure Rajamaki <lynoure@tuug.fi>
To: h-costume@indra.com
Subject: Re: [h-cost] authenticity
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Date: Sat, 4 Jan 2003 10:21:32 +0200 (EET)
Status: RO

On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:

> Shoot, when I was in school, we were not *allowed* to wear trousers
> of any sort to school, no matter what the weather. (And it was *very*
> cold in Spokane, Washington USA when I was growing up. Much like the
> midwest in winter or some of the Scandinavian countries.) So, while a
> modern person would say that it couldn't be that girls in the 1950s
> and 60s wouldn't wear trousers in cold weather, I can assure you that
> we didn't. (If we tried, we got expelled from school.)

Skirts can be plenty warm and nice in very cold weather. It has been
between -20 and -28 Celsius here this week, and I have still worn skirts.
I have a wonderful woollen winter skirt, but I can also be rather warm
with a wide polyester skirt, if I wear cotton leggins and thigh lenght woolen
stockings underneath.

Compared to wearing thick trousers, this solution is better for me as I
can remove my woolen stockings very easily and avoid sweating indoors.

-- 
Lynoure Rajamaki
lynoure@tuug.fi

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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 4 Jan 2003 21:24:56 +1300
Status: RO



> > Something that Apollonia just wrote brought up an issue that I have long
> > been pondering. She mentioned that everyone can be more authentic than
> > they are, but she didn't want to shear her own sheep. And while I
> > certainly understand the sentiment, it shows a fundamental assumption
> > that I suspect may be American in origin. The idea that people in the
> > Middle Ages did everything to supply themselves.

I think that when people talk about shearing their own sheep is not about an
assumption that everyone did the work themselves, but that was the process
that produced the fabric. I think most of us are aware that no one could
have done *everything* for themselves, or at least they are in a bit of a
minority, but that none of them used the machinery that produces even 100%
natural fibred fabrics. And I think people doing historical research also
trade skills, ie cloth for metal work etc.

michaela


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Date: Sat, 4 Jan 2003 21:30:00 +1300
Status: RO

My mother sketched a lot, and Oma sang a lot, both for themselves around the
house. My Dad, sister and brother are all into graphic arts of some sort or
another.

I hesitate to call myself artistic, as my work wavers in terms of
originality, but I do like to call my work craft.

I also do OOAK dolls, well did, haven't sculpted any for a while.. and I
make/made mixed media cats:
http://recital.tripod.com/sketch

michaela


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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 4 Jan 2003 08:32:30 +0000 (GMT)
Status: RO

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

> I don't know that it's American, necessarily.  And
> it's not even
> restricted to costuming and clothing--I see similar
> debate in my other
> area of interest (pre-17th c. cooking). 

>  But
> I don't think that's
> where the push to know things from "sheep to shawl"
> comes from.  I
> think, rather, it's a by-product of people looking
> at, say, recreating
> 16th c. Northern Italian cuisine, or clothing worn
> by the settlers in
> Greenland, or the proper way to fasten shut an 18th
> c. french gown, as
> *areas of study.*  

> All I can say is, I perceive a difference in quality
> of effort between
> someone who made her own salt, and grew her own
> herbs for her salad (on
> the one hand), and someone who just purchased those
> things for hers,
> even if the salads are equally tasty.  

Good points there. Let me add another example from my
cooking interests (because it's a simpler example than
the costuming ones). I cook with herbs. Some I grow,
some I buy from the supermarket. How do I choose which
ones to grow? Two reasons.
1) I can't get the variety I want from the
supermarket: parsley yes, borage no (and club-root
parsley to use like carrot is hard to find even as
seed).
2) I want to know how hard it is to grow a herb under
certain conditions, to investigate arguments about
"they can't have used that herb fresh 'cos you can't
grow it there".

A medieval cook would have had access to a medieval
herb garden: I don't. So either I grow my own, or I
find a friend who can supply me with the resources I
need. Herbs I can do (and supply our local mead-maker
with his requirements, too). 

In comparison, my experiments with spinning suggest
that while I can learn from the experience, if I want
fabric or even usable thread, I'd better buy it
ready-made. But skills differ: others may well find
that spinning their own thread and indeed, shearing
their own sheep, gives a more accurate result than
buying an approximation.




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Date: Sat, 4 Jan 2003 21:39:46 +1300
Status: RO

> I have two disorders, one is degenerative disk disease through out my
> backbone.  My disks are just fading away.  The other is a rare collagen
> disorder called Ehlers- Danlos Syndrome.

oooh, I know about ED. Thought I might have had it for a while because I was
so hypermobile. Now of course I'm not because of the RA and all my joints in
the process of being deformed. Definately know what you are going through.
Have you Been to the http://marge.com/hypermobility.html board? I used to
visit there, as the HMS was a pain at times:)

michaela


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Subject: Re: [h-cost] off topic artistic veins
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Date: Sat, 4 Jan 2003 03:42:44 -0500
Status: RO

Michaela,

Anyone who creates costumes like you do is an artist!  Fashion and Costume
are both in the school of art at universities.

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

----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Saturday, January 04, 2003 3:30 AM
Subject: Re: [h-cost] off topic artistic veins


> My mother sketched a lot, and Oma sang a lot, both for themselves around
the
> house. My Dad, sister and brother are all into graphic arts of some sort
or
> another.
>
> I hesitate to call myself artistic, as my work wavers in terms of
> originality, but I do like to call my work craft.
>
> I also do OOAK dolls, well did, haven't sculpted any for a while.. and I
> make/made mixed media cats:
> http://recital.tripod.com/sketch
>
> michaela
>
>
> _______________________________________________
> 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: old vs. new mindsets (was Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 04 Jan 2003 00:47:06 -0800
Status: RO


>as my
>similar knowledge sets are, today (think of "casual Fridays," or net or
>cell-phone etiquette).

Imagine the phrase 'I can move this window around with my mouse' uttered 
100 years ago.

Kayta

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Date: Sat, 04 Jan 2003 01:11:40 -0800
Status: RO


>On the subject of spinning/weaving etc., we can even
>say "how many people from our period(s) constructed their own clothes, or even
>knew how to if they didn't"?

I had to dabble in several arts and crafts to furnish my SCA persona with 
the things I researched that she would have had, but she would have known 
none of these arts or crafts.  And then I had to research those things she 
would have known, to be doing at events.

>I know of a lot of people that have just given up
>because they have decided (or been told) that "you can't be completely 
>'period'
>(meaning authentic), so don't even try".

I know I can't be completely authentic - I can't afford to pay for 
handwoven silk velvet, my life was saved by penicillin once, and I get to 
events in an internal-combustion-powered vehicle.  But my goal is to get as 
close as I can to 100% authentic in what I wear, and I'm doing that better 
now than I was in the 1970s.  I win.  And I will achieve it better next 
year than I am doing now.  I win.  And I've met all these other costumers 
who share my passion.  I win.

Kayta

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Date: Sat, 04 Jan 2003 00:50:57 -0800
Status: RO

 >I'm not in this for a contest, or to impress people, and I'm trying not
to draw the distinction I often see people make, between "garb for a
contest" and "garb for the rest of the time." Which is not to say, of
course, that I don't enter contests (I do), nor that I wouldn't mind
impressing, say....somebody like Drea, or Bjarne, or Robin, or
Margo.....If there were no contests, and no one to impress, there'd
 >still be me, and I'd still be making things.

I do make the distinction between contest entries and everything else.  For 
the contest entries I plan ahead and take the time to do the inside finish 
and achieve the quality of detail work that I really should be doing all 
the time.  This is because the judges will see it, and one tries to impress 
the judges if one competes to win.  For competition I try to carefully 
document every little piece, and rehearse what I am going to say to judges 
whose period I may not be doing.  Alternatively, if it's not for 
competition, I sometimes rush my schedule, skip these details before my 
first wearing, and add modern conveniences like car key pockets I cannot 
otherwise document.

But I was a picky purist before the days of internet costume lists and 
Janet Arnold, because I am a visual person and could always see the 
difference between the right lines and the wrong ones (whether I could 
accurately recreate these or not).  The area in which I have progressed 
most is in what fabrics are appropriate for what periods, and how to 
simulate these on my tiny budget.  I have always tried to challenge myself 
to make the perfect copy, and keep raising the bar on myself as my 
technique and other peoples' published research get better.  I have come 
far enough to be able to laugh at some of my early work, but I realize I 
still have a ways to go.

I'm so glad there's h-costume, and all of us are talking to each other.

Kayta

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Subject: Re: [h-cost] Buying a sewing machine
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In a message dated 1/4/2003 1:36:28 AM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:


> Should I try to find a Singer retailer to
> investigate them too? What about the White machines? 

Definitely forget them.  Viking and Bernina are, I think, about equivalent in 
quality.  I love my Bernina, but convenience for service is a factor.  A 
friend has a Viking and loves it.  I think today's electronic machines are 
very durable, so don't let that bother you.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/4/2003 1:36:28 AM Eastern Standard Time, audreybmorin2@hotmail.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Should I try to find a Singer retailer to<BR>
investigate them too? What about the White machines? </BLOCKQUOTE><BR>
<BR>
Definitely forget them.&nbsp; Viking and Bernina are, I think, about equivalent in quality.&nbsp; I love my Bernina, but convenience for service is a factor.&nbsp; A friend has a Viking and loves it.&nbsp; I think today's electronic machines are very durable, so don't let that bother you.<BR>
Ann Wass</FONT></HTML>

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From h-costume-admin@indra.com  Sat Jan  4 07:57:31 2003
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Subject: Re: [h-cost] off topic artistic veins
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Date: Sun, 5 Jan 2003 01:57:57 +1300
Status: RO

> Anyone who creates costumes like you do is an artist!  Fashion and Costume
> are both in the school of art at universities.

Thank you:) But I suppose it's really that I have a different perception of
art;) It might have something to do with the training I had as an actor. In
a round about way;)

I had no talent. Whatsoever for singing or acting. No innate ability to just
do these things. It took a lot of hard work and training to get me to the
point where I feel I can do a good job.

What also came out of this training is a distrust of the word talent. It's
used so often to mean "innate ability to do xyz". But also that it's an
intangeable thing, that either you have it or not. And if you don't, you
never will.

I am proof that this is not the case. No one who now sees me on stage knows
that I was tone deaf and that I was so awkward on stage that it was painful
to watch.

The word art is often used like this. So I like to use the word craft, as in
craftmanship. And then if it's my original work I will say there is some art
in it, if it's a recreation it's pretty much all craft;) This is sort of
what I was trying to say when Nicole and I discussed recreation costumes;)
The recreation doesn't offer much artitistic scope, as you already have the
design there, but there is still   much skill and craft to make somethng
that is so recognisable. And you can be as successful or not in a recreatuon
as in an original. Just different sorts of issues.

And I ave just updated again;) I do actually have a good proportion of
original work up there now so I feel rather better about things;)

And I am still keen to do a classroom with you:) I just have to figure out
what I can teach that I don't think someone else could do an infinately
better job at;)

michaela


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Date: Sat, 4 Jan 2003 14:58:57 +0100
Status: RO

Hello.
I think it much depends on different things, and i think that there are many
oppinions.
My sewing machine is a Husqvarna, i baught mine 6 years ago and it has made
many costumes all ready, It still works like a dream, and  i am very
sattisfied with mine.
No  problems yeat!!


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Saturday, January 04, 2003 7:33 AM
Subject: [h-cost] Buying a sewing machine


> Hi all!
>
> My parents are planning on buying me a sewing machine for Christmas. We
> didn't have time to shop before, so it will be a late present, but we saw
a
> couple of machines today and I'm a little lost.
>
> We saw the Pfaff machines but they were bought out by Husqvarna and we're
> afraid we might have trouble getting it repaired?
>
> Anyway, we were looking at the Select 1540 (mechanical) and the Expression
> 2034 (electronic). Are any of you familiar with those machines? Those
> electronic ones look very nice, but since I'm probably going to keep it
for
> a very long time, I want to be certain I'm choosing the right thing.
>
> We also saw the Viking machines, they look niftier and they're less
> expensive for very similar functionalities. I'm not sure which model we
were
> looking at, but comparing with the Husqvarna website it might have been
the
> Rose model. Or maybe it was Lily. Viking machines seem to all be
electronic
> now. I'm pretty certain you're all going to say it's a good choice, but
> aside from that, any other comments?
>
> So, any advice? Should I drive all the way across town (40 km) to take a
> look at the Bernina machines? Should I try to find a Singer retailer to
> investigate them too? What about the White machines? Do you think I should
> avoid Pfaff because of the change of company ownership?
>
> Help?
>
> :-)
>
> And thanks a lot...
>
> Audrey
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Sat Jan  4 09:18:28 2003
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From: Katy Bishop <vintage@shore.net>
To: Audrey Bergeron-Morin <audreybmorin2@hotmail.com>
cc: h-costume@indra.com
Subject: Re: [h-cost] Buying a sewing machine
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Date: Sat, 4 Jan 2003 09:18:56 -0500 (EST)
Status: RO


I have a 22 year old Viking that I have always loved as well as a
newer(7 year old) electronic Viking which is also great.  They have
both been worked very hard making Victorian gowns and have given me few
problems.  Got the electronic one on ebay for $500!

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: Sat, 4 Jan 2003 09:02:16 -0800
Status: RO

Most of these messages mention Viking and Husqvarna as if they are two
separate companies.  Is that true these days?  I have a ~35 year old machine
that was top-of-the-line when it was new, and it says "Viking Husqvarna"
right on the front.  I always assumed it was like "Hewlett Packard" i.e. a
company with a two word name.  Not that it matters much, I'm just curious.

Oblig. Costume Content:  My machine was bought by my mom who was a
professional tailor and seamstress working out of our home. When I was given
the machine, I set to work making casual clothes for me and my kids, as well
as home decor stuff.  I've made *lots* of costumes for my kids, but none of
them historical. I wish I had thought to take photos of them. The best one
was a muslin dinosaur head, spine ridge and tail that I attached to a green
sweatsuit.

I'd like to make something "historically based" for myself to use when I do
spinning demonstrations. For now, I just wear my regular street clothes
because spinning is also a modern hobby and I don't want people to think
it's only for reinactors. There are times when something "colonial" or older
would be appropriate.  I just have to figure out what.

Denise B.

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Subject: RE: [h-cost] Buying a sewing machine
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Date: Sat, 4 Jan 2003 09:18:06 -0600
Status: RO


Husqvarna is a Swedish company that makes, among other things, chain
saws. They label their sewing machines Viking, at least in the US,
because it's a more familiar word and easier to pronounce. I think their
machines are made in Sweden, at least the top of the line ones.

A while back, Husqvarna bought Pfaff. They continue to produce the Pfaff
line separately, at a factory in eastern Europe, NOT in Germany.

Another line to investigate is Janome, made in Japan.

But the best machines, especially in terms of quality craftsmanship and
lasting forever, are Berninas.

Forget Singer, unless it's 60 years old and made of cast iron.

Kim

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Date: Sat, 4 Jan 2003 10:40:40 -0500
Status: RO



> 
> My point, and I do have one, is that making a garment 'from the fleece
> up' isn't necessarily more authentic or generally better than a garment
> made from carefully chosen and prepared machine made fabric simply
> because it is 
> 'hand-woven', nor is making something from fleece to finished garment
> particularly authentic for someone  in the Middle Ages. 
> 
> 
> Karen
> 
> 
   I agree, I just objected to your original posts implying that it couldn't be done right.  It can, just not by most people!  

   I am not a spinner, but I have seen the same thing with handsewing.  Handsewing is also a skill, and one that improves with use. (I have had people insist things I have handsewn were done by machine). In Civil War re-enacting it has become very popular amongst the progressive reenactors to handsew (even the garments that WERE machine sewn).  Often the re-enactor does this sewing himself, and has never sewn anything by hand or machine before.  It is usually very obvious that this is the case, and the finished product is not more historically accurate.  Oh I have seen poorly sewn originals as well, but it was usually a case of haste (production handsewing) and not ineptitude.

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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From h-costume-admin@indra.com  Sat Jan  4 10:57:36 2003
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Date: Sat, 4 Jan 2003 10:56:15 -0500
Status: RO

There is of course the lack of hand spun and woven fabric available for purchase.

   At work our Historic Carpenters (we have modern ones as well) hav been envolved for the last several years rebuilding a number of outbuildings.  These were to be rebuilt as authentic as possible.  When I say authentic here I mean not only in all the methods a carpenter uses, but in materials as well.

   This means a need for proper non-modern milled lumber.  In area, in our period there were few sawmills, and an overabundance of cheap, often free labor, so this basically means handsawn lumber.

   Now in our period a carpenter does not mill his own lumber, anymore than he would today.  This is unskilled labor, but the only way to get it today was to have iot done and it fell to the carpenter.

   Now as I mentioned a carpenter in the period would have bought the lumber, but when you view the finished structure can you tell if the carpenter purchased the wood or if he sawed it himself?  You can however tell if the wood was modern milled or not.

   I think a lot of the "sheep to coat" concept is steeped in this.  We are looking at two different goals.  Is the goal to create an authentic experience, or to create an authentic artifact?  Either is just as valid.  In my case I want the artifact, and then seek the experience when I am wearing it!


Ron


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             R. Bach

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From h-costume-admin@indra.com  Sat Jan  4 11:29:33 2003
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Sat, 04 Jan 2003 09:02:09 -0700
Status: RO

I bought the Pfaff 2020 a couple years ago and have been very happy with it.
My decision to go with Pfaff was based on their inclusion of the dual feed
foot, which none of the other brands had at the time.  I don't know if any
of them have subsequently included it.  It is very useful to me for sewing
some difficult to feed fabrics, like vinyls, which I use a lot in my
business.  I was leaning toward the Bernina but their walking foot was just
not as good as the dual feed foot on the Pfaff.

The one thing I don't like about the Pfaff is the buttonholer, so I always
go back to my ancient Singer with a buttonhole attachment when I need to sew
in buttonholes.  I think other barnds have similar buttonholers.  I would
try them out in the store on more difficult fabrics.  They always seem to
work fine on easy fabrics like cottons, but I am rarely using them on easy
fabrics.

I wasn't aware that Pfaff was bought out by someone else.  Don't know how
that will affect me down the line.


Sylvia Rognstad
-- 
Divinity Designs and Emeralds
http://www.d-e-designs.com


on 1/3/03 11:33 PM, Audrey Bergeron-Morin at audreybmorin2@hotmail.com
wrote:

> Hi all!
> 
> My parents are planning on buying me a sewing machine for Christmas. We
> didn't have time to shop before, so it will be a late present, but we saw a
> couple of machines today and I'm a little lost.
> 
> We saw the Pfaff machines but they were bought out by Husqvarna and we're
> afraid we might have trouble getting it repaired?
> 
> Anyway, we were looking at the Select 1540 (mechanical) and the Expression
> 2034 (electronic). Are any of you familiar with those machines? Those
> electronic ones look very nice, but since I'm probably going to keep it for
> a very long time, I want to be certain I'm choosing the right thing.
> 
> We also saw the Viking machines, they look niftier and they're less
> expensive for very similar functionalities. I'm not sure which model we were
> looking at, but comparing with the Husqvarna website it might have been the
> Rose model. Or maybe it was Lily. Viking machines seem to all be electronic
> now. I'm pretty certain you're all going to say it's a good choice, but
> aside from that, any other comments?
> 
> So, any advice? Should I drive all the way across town (40 km) to take a
> look at the Bernina machines? Should I try to find a Singer retailer to
> investigate them too? What about the White machines? Do you think I should
> avoid Pfaff because of the change of company ownership?
> 
> Help?
> 
> :-)
> 
> And thanks a lot...
> 
> Audrey
> 
> _______________________________________________
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Date: Sat, 04 Jan 2003 12:01:57 -0500
Status: RO



Bjarne:

I like your grandfather's painting, too! I wish I could walk down that road
and see where it goes.

Gail Finke


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Subject: [h-cost] Medici exhibit in Chicago
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Date: Sat, 4 Jan 2003 11:22:34 -0600
Status: RO

I was able to go and see the Medici exhibit in Chicago this Thursday at the
Art Institute. The only word I could come up with to describehow I felt
after to my hsuband was "saturated". There was *so* much! A good number of
portraits, but the statuary! Wow!

However, after the Medici exhibit I went down to the textiles exhibit -
Renaissance Silks and Velvets. *Drool* The Art Institute was exhibiting part
of their collection of Renn. velvets and silks to complement the Medici
exhibit. To see these up close - to see the colors, the detail of the
weaving, the embroidery....well, I thought I was saturated before going
down, I was overflowing after that! I asked a guard if I could photo the
fabrics, and she said no one had told her no, so go ahead. I got part way
through before I came into sight of the other guard, who told me no, but I
found the little exhibit brochure which had photos of some of the ones that
I didn't get, so that was OK.

All I can say is, if you have a chance to go and see these exhibits, *do
so*! Absolutely amazing.

....going to drool over the exhibit book and textile brochure again....I'll
have to laminate so the paper isn't ruined :-)

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

There's no such thing as too many books!

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


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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 04 Jan 2003 09:19:38 -0800
Status: RO

Ron wrote:
>    I am not a spinner, but I have seen the same thing with handsewing.
>     Handsewing is also a skill, and one that improves with use. (I
>    have had people insist things I have handsewn were done by
>    machine). In Civil War re-enacting it has become very popular
>    amongst the progressive reenactors to handsew (even the garments
>    that WERE machine sewn).  Often the re-enactor does this sewing
>    himself, and has never sewn anything by hand or machine before.  It
>    is usually very obvious that this is the case, and the finished
>    product is not more historically accurate.  Oh I have seen poorly
>    sewn originals as well, but it was usually a case of haste
>    (production handsewing) and not ineptitude.

A big "AMEN" to this one. I'd much rather see something sewn by 
machine than someone doing a job on their handsewing that looks like 
a skirt I made in gradeschool (before I had been taught how to use a 
sewing machine and before I had several more years of handsewing 
experience.) This is especially true for contests.

For things where a sewing machine works (as opposed to things like 
cartridge pleats), I feel that it's perfectly acceptable to use a 
sewing machine since it does an approximation of a double running 
stitch. (That doesn't mean that I don't completely handsew garments 
for the fun of it. I do. However, I have a lot of hand impaired 
friends who can't do it and I make sure they know that I only do the 
"full handsewn" thing for fun.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 04 Jan 2003 09:19:38 -0800
Status: RO

Karen wrote: 
> I have occasionally seen reproduction fabrics which are dead-ringers
> for the medieval stuff, but MOST of the stuff one sees as hand-woven
> wouldn't have been used for sacking in the Middle Ages!

How true. I think your and Ron's point about the differences between 
hobbyists and a professional handweaver are correct.

Also keep in mind that many of the handweavers (especially in the 
modern Handweaver Guilds) are trying for unusual things. They aren't 
trying to reproduce a period weave except for using the basics as a 
stepoff for their own ideas.

>  In this case a machine
> spun and woven fabric which has the correct thread count and finish
> would be far better for a piece of historical clothing than a handspun
> and woven fabric that had the incorrect thread count and finish.

It depends on whether they can get the correct spin for their machine 
spun threads. I've been helping a friend document something for a 
contest and one of the things I've done is to pick apart fabric 
samples looking at the weave structure and the spin type. Most of our 
modern threads are spun in one direction because that's what the 
machines are set up to do. However, if you are looking at the 
changeover period in terms of spindle spun and wheel spun, you won't 
get fabrics which look the same unless they are spindle spun. You 
see, wheel (and machine) spinning is all S-spun. To get some of the 
looks and behavior of some fabrics, it has to be a mixed spun (using 
one spin for the weft and the opposite spin for the warp). We don't 
get that now. Almost everything in the middle ages seem to have been 
either mixed spun or Z-spun. And it can make a difference in the 
finished behavior/look of the woven fabric.

> I
> have been spinning for 25 years and yet I will bet that there were 10
> year olds in medieval Flanders who could spin far better thread than I
> can after twice as long simply because they did it every day and had a
> defined set of standards they had to meet or their product wouldn't
> sell.

You betcha!

> My point, and I do have one, is that making a garment 'from the fleece
> up' isn't necessarily more authentic or generally better than a
> garment made from carefully chosen and prepared machine made fabric
> simply because it is 'hand-woven', nor is making something from fleece
> to finished garment particularly authentic for someone  in the Middle
> Ages. 

Exactly. Where I find doing some of my own weaving/spinning/etc is 
most helpful is in understanding how each step from the ground up 
through finished garment is important to the final look of a garment. 
I have learned about the difference between retting methods for linen 
and how what a sheep eats (as well as its breed) has an effect on its 
wool. Before I learned about the importance of spin direction, I 
would have thought that it didn't matter. It's helped me understand 
about thread count (why a gauze is not an acceptable substitute for a 
tightly woven fabric of very finely spun thread for use in veils). 
It's helped me look for things that have a different type of 
calendaring than is the norm for fabrics. How laundering affects 
fabrics (including how dry cleaning *does* cause shrinkage no matter 
what some dry cleaners say). Why a sleeve works better if inserted by 
hand sometimes than by machine and how the change in technology from 
handsewn to machine sewn has changed how garments are cut. (I'm going 
to quit now, but I could go on with many examples.) Of course, 
sometimes books and talking to people who have really done the things 
have to substitute for parts of my education. I certainly am not 
going to go raising sheep just to learn one aspect. ;)

In other words, trying out/learning about various processes which 
were used in the period I'm studying at the time help me understand 
things that, because of my modern upbringing, I'd otherwise not truly 
understand. It helps pull me out of my "modern intuition" into 
thinking more along the same lines as a person of the past who was 
steeped in their time, just as I'm steeped in modern times.

Kat Russell
<kat@grendal.rain.com>

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Subject: [h-cost] Joan of Arc - somewhat OT
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Date: Sat, 4 Jan 2003 11:24:00 -0600
Status: RO

Somewhat OT, but I know that someone here will have an answer - can you
recommend good biographies of Joan of Arc? My sister is interested, and I'm
not familiar with good authors who cover this period/person.

Thanks!


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

There's no such thing as too many books!

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


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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: [h-cost] Problems with knitting (WAS: RE: Problems with
 Crocheting)
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Date: Sat, 04 Jan 2003 12:26:27 -0500
Status: RO

On Fri, 03 Jan 2003 07:41:02 -0800, Kayta wrote:

>>That sounds like the "east-crossing/west-crossing" problem. If I recall 
>>correctly, that sort of thing means you're either (1) wrapping the thread 
>>the wrong way about the needle (top to bottom instead of bottom to top, 
>>or the reverse) or (2) placing the needle through the loop you're purling 
>>through in the wrong direction (tip to base of the stitch-holding needle 
>>instead of base to tip, or the reverse).

>That your lengthy, and probably correct, explanation doesn't make sense to 
>me as I read it is probably the problem. I'm ambidextrous and dyslexic.

The long speculation is one of those esoteric things that might make sense 
to knitters who know a lot more about the art than I do.

The bottom line, I think, is that if you are currently wrapping your "purl" 
yarn so it starts from the "front" of the needle (the side facing you) 
first, with the rest of the yarn trailing "behind" the needle, you need to 
wrap the yarn to it starts from the "back" of the needle, with the rest of 
the yarn trailing "in front" of the needle.

If you wrap your "purl" yarn starting "behind" the needle, then you have to 
do the opposite:  wrap it starting "in front of" the needle.

I'm afraid this makes just about as little sense in words as it did the 
first time... and I don't know where the back copies of Knitter's magazine 
that had the diagrams might be (I tend to pass these all to Mom, who's the 
knitter, and I don't know how long she keeps them)...

BTW, when it comes to knitting, I'm also ambidextrous. Makes for some crazy 
methods of pattern-following...


Brenda
webwarren@earthlink.net


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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Joan of Arc - somewhat OT
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Date: Sat, 4 Jan 2003 11:55:53 -0600 (CST)
Status: RO


On Sat, 4 Jan 2003 lotsofteapots@charter.net wrote:

> Somewhat OT, but I know that someone here will have an answer - can
> you recommend good biographies of Joan of Arc? My sister is
> interested, and I'm not familiar with good authors who cover this
> period/person.

Anything you can find by Bonnie Wheeler will be clear, solid, and
interesting. I think she might have had a book out in the last couple of
years. One of her specialties is Joan, and she focuses on making the
material accessible to non-specialists. I know her as a colleague from
Kalamazoo, and I had the pleasure once of recommending her to write an
article on Joan for a popular reference book for which I was medieval
content reviewer.

--Robin

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Date: Sat, 4 Jan 2003 12:04:52 -0600
Status: RO

Bravo Kat!

I absolutely agree. If you follow along with my posts, you may notice
that I actually DO spin wool and flax, I have worked with both from very
early along in the process, I have cooked over open fires and in
fireplaces, I have lived in period tents and in log cabins for notable
periods of time (not as a life-style choice, but enough to get the
flavor). I grow all sorts of period herbs in my garden as well as have a
collection of Old Garden Roses- I've actually run out of pre-1600 roses
to collect! I have hand sewn complete garments (no, not court
Elizabethans, but quite a bit of my frontier 18th century stuff) and I
study period dance and period movement. I firmly believe in LIVING
history not as an adjective but as a verb. Sometimes things which make no
sense individually make perfect sense in the correct context. But part of
understanding a period is knowing what a typical person would and
wouldn't know/do in a given circumstance. A badly done handwoven/sewn
reproduction garment is NOT superior to a well-made machine woven/sewn-
that's my point. 


Karen

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Subject: [h-cost] Spin and impact on finished fabric
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Date: Sat, 4 Jan 2003 13:27:26 EST
Status: RO


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In a message dated 1/4/2003 1:06:31 PM Eastern Standard Time, Kat Russell 
wrote:

> Almost everything in the middle ages seem to have been 
> either mixed spun or Z-spun. And it can make a difference in the 
> finished behavior/look of the woven fabric.
> 

As a non-weaver and one who has tried hard to make sense of the thread/fiber 
descriptions in the MOL, your statement intrigues me.  I would really 
appreciate it if you would expand on it and explain how the different spins 
and combinations affect the finished fabric.

Thanks,

Nancy Stengel Ulmer
aka Maddalena Salutati

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/4/2003 1:06:31 PM Eastern Standard Time, Kat Russell wrote:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Almost everything in the middle ages seem to have been <BR>
either mixed spun or Z-spun. And it can make a difference in the <BR>
finished behavior/look of the woven fabric.<BR>
</BLOCKQUOTE><BR>
<BR>
As a non-weaver and one who has tried hard to make sense of the thread/fiber descriptions in the MOL, your statement intrigues me.&nbsp; I would really appreciate it if you would expand on it and explain how the different spins and combinations affect the finished fabric.<BR>
<BR>
Thanks,<BR>
<BR>
Nancy Stengel Ulmer<BR>
aka Maddalena Salutati</FONT></HTML>

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Date: Sat, 04 Jan 2003 11:47:58 -0700
Status: RO

Yeah.  I've wondered that myself.  About how it might change the drape,
or the longevity of the garment, and why people might have done it, and
what we lost, or gained, when we stopped doing it.  And whether it's
more prevalent in some fibers, or some cultures and times, than in
others?
--sue
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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 4 Jan 2003 13:50:57 -0500
Status: RO

<<<But I agree that everyone could be more authentic than they are now. 
Most 
of us chose to learn what authentic is, then decide how much of our 
knowledge we will put into practice.>>>
 
        I do my costumes mostly for SCA, but I have a couple who are
friends who play music for other periods and I make their costumes too. 
Although hoops are "period" for one of her times, she can't sit and play
the hammered dulcimer in one so her skirts are just very full - and we
know that they are not totally authentic.  For myself, I know that silk
velvet is the fabric of choice for a queen's gown I am making, but I can
barely afford the velveteen that I got with a 50% off coupon and a $25.00
gift card at JoAnn's.  Knowing what is correct makes it easier to
substitute something that will look good, if not perfect.  

        When someone tells me that the authenticity police won't notice
something, I tell them I am by far the worse at noticing authenticity
than anyone I know.  I don't criticize other's, I just see where things
are wrong.  I know where mine are wrong too and cringe when someone tells
me it is so perfect.  

        We can all try to be as authentic as our research and pocketbooks
will allow and we would not be able to spend ten minutes in the middle
ages without being found out.  

        Just as a note, most scholars in linguistics say the Appalachians
is the place to pick up Elizabethan English, not England because of the
isolation.  There are a series of books called the Foxfire books that
depict daily life, customs, and crafts of the region.  I would expect
that they are probably closer to English middle ages than most also.  The
region is being overrun and no where is really isolated now, but the
books were written some thirty to fifty years ago and mostly from
interviews with the older inhabitants.  I just thought about them when
this thread came up and am going to go check mine out as soon as I get
off the computer.

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Sat, 4 Jan 2003 14:48:27 -0500
Status: RO

        A lot depends on how much you are going to use it and what kinds
of fabrics.  I have a New Home that was top of the line ten years ago and
is right now sitting waiting for me to get inside and adjust it again.  I
tried to make an American Colonial gown on it several months ago and the
shear bulk of fabric at the waist got it out of whack so now it skips
stitches.   The good news is, I can usually fix these things myself.  The
bad news is, I don't have the time to fool with it right now.  I also
have an old Singer (301 model purchased in 1955) that I dig out every
time I need something really dependable.  That machine has sewn, canvas
and plastic coated canvas for sports car tonneau covers down to the
sheerest of chiffons.  It never complains and doesn't mess up.  It also
has no fancy stitches without an attachment.  It goes forward and
backward and it does it beautifully.  

        I have about decided that sewing machines, like anything else
from cars to TVs, tend to be more reliable with less built in fancy
stuff.  On the other hand, I can't get enough garbage attached to my
computer so I am not just an old fogey.  

        Just my 2 cents worth (and we know what that is worth these
days).

Lalah
Never give up, Never surrender
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Date: Sat, 04 Jan 2003 11:50:24 -0800
Status: RO


>Handsewing is also a skill, and one that improves with use. (I have had 
>people insist things I have handsewn were done by machine). In Civil War 
>re-enacting it has become very popular amongst the progressive reenactors 
>to handsew (even the garments that WERE machine sewn).  Often the 
>re-enactor does this sewing himself, and has never sewn anything by hand 
>or machine before.  It is usually very obvious that this is the case, and 
>the finished product is not more historically accurate.  Oh I have seen 
>poorly sewn originals as well, but it was usually a case of haste 
>(production handsewing) and not ineptitude.

As it happens, I have a chain-stitch sewing machine, and I plan to make at 
least one ACW-period dress on it.  Just to have done it.  But the machine 
itself sews very nicely, so I might use it for other historical things as, 
it seems, that brand of chain-stitch machine was still being sold well into 
the 1900s.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Problems with knitting (WAS: RE: Problems with Crocheting)
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Date: Sat, 04 Jan 2003 11:59:35 -0800
Status: RO


>The bottom line, I think, is that if you are currently wrapping your 
>"purl" yarn so it starts from the "front" of the needle (the side facing 
>you) first, with the rest of the yarn trailing "behind" the needle, you 
>need to wrap the yarn to it starts from the "back" of the needle, with the 
>rest of the yarn trailing "in front" of the needle.
>
>If you wrap your "purl" yarn starting "behind" the needle, then you have 
>to do the opposite:  wrap it starting "in front of" the needle.
>
>I'm afraid this makes just about as little sense in words as it did the 
>first time...

BLEAH!  Yes, your're right - I can't make any more sense of this than I 
could of the other.  But mostly I don't knit, as mostly I do periods where 
I can crochet, which I prefer to do.  I only learned to knit sox for Ren. 
purposes.

>BTW, when it comes to knitting, I'm also ambidextrous. Makes for some 
>crazy methods of pattern-following...

I never follow written patterns unless I have to.  If the pictures aren't 
good, I'm usually lost.  I only stumble thru the written directions if the 
source is historical and it's the only one.  The Ondori books, from Japan, 
are great, as they have numerous step-by-step pictures, symbol 
representations, and no English text.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 04 Jan 2003 12:04:34 -0800
Status: RO


>         Just as a note, most scholars in linguistics say the Appalachians
>is the place to pick up Elizabethan English, not England because of the
>isolation.  There are a series of books called the Foxfire books that
>depict daily life, customs, and crafts of the region.  I would expect
>that they are probably closer to English middle ages than most also.  The
>region is being overrun and no where is really isolated now, but the
>books were written some thirty to fifty years ago and mostly from
>interviews with the older inhabitants.  I just thought about them when
>this thread came up and am going to go check mine out as soon as I get
>off the computer.

Tiny bone to pick.  Let us all remember that the 'Current Middle Ages'. of 
the SCA includes many periods that are to one or the other side of the 
actual Middle Ages.  For example, my Ren. stuff, while being SCA period, is 
not from the Middle Ages that any scholar would recognize as such.


Kayta

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Date: Sat, 4 Jan 2003 20:11:12 +0000 (GMT)
Status: RO

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

> As it happens, I have a chain-stitch sewing machine,
> and I plan to make at 
> least one ACW-period dress on it.  Just to have done
> it.  But the machine 
> itself sews very nicely, so I might use it for other
> historical things as, 
> it seems, that brand of chain-stitch machine was
> still being sold well into 
> the 1900s.

Hang on a sec.... I'd found out that sewing machines
existed in the ACW period, and breathed a sigh of
relief (an ACW costume being my main project for the
coming year). Do I gather from this that they *didn't*
do the "standard" double running stitch that my
machine does, but a chain stitch instead?



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Date: Sat, 4 Jan 2003 15:22:37 -0500
Status: RO

<<<Tiny bone to pick.  Let us all remember that the 'Current Middle
Ages'. of 
the SCA includes many periods that are to one or the other side of the 
actual Middle Ages.>>>

        Not such a tiny bone actually.  You are absolutely right and the
Appalachians was considered a good example of Elizabethan English which
is actually a bit past the period I usually do too.  But I did think that
the crafts in the Foxfire books might just be a bit closer to that period
than anything else we are going to find.  The people that put them
together were just trying to preserve the Appalachian way of life in
print before it was gobbled up by the modern world (which it has pretty
much done since they were written).

        Thanks - I do tend to get frustrated by the long period covered
by the SCA.  It is difficult to try to represent a 14th century lady when
talking with an Elizabethan.  I would be more comfortable talking to my
great grandmother from the American Civil War period.

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] Spin and impact on finished fabric
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Date: Sat, 04 Jan 2003 11:44:48 -0800
Status: RO


> In a message dated 1/4/2003 1:06:31 PM Eastern Standard Time, Kat
> Russell wrote:
> 
> > Almost everything in the middle ages seem to have been 
> > either mixed spun or Z-spun. And it can make a difference in the
> > finished behavior/look of the woven fabric.
> > 
> 
> As a non-weaver and one who has tried hard to make sense of the
> thread/fiber descriptions in the MOL, your statement intrigues me.  I
> would really appreciate it if you would expand on it and explain how
> the different spins and combinations affect the finished fabric.

You can make some of your own examples for this without even using 
thread. That's because the light bounces differently off of things 
with different orientations. 

Take paper and make diagonal lines on it. Make another set with the 
diagonal lines in the "opposite" direction (so that one set is like 
the keyboard slash, and the other set like the keyboard backslash). 
Cut it into strips and lay them side by side alternating slash and 
backslash types. You can see the difference in pattern compared to 
when you line up a set of only slashes or only backslashes. (And just 
turning a "slash" 180 degrees doesn't turn it into a "backslash". 
That's why twill fabrics can be difficult to match at the center 
front if you are trying for a chevron look. You actually have to have 
one fabric inside out compared to the other to get that.)

Next, try making a "basket" by weaving them evenly using slash in one 
direction and backslash in another direction. Then try it using only 
slash in both directions.

Then try doing the same thing with using a twill weave. (Look it up 
in the MOL book for how the pattern lays out. I'm afraid I can't 
verbally explain it well enough.)

What you see is that they look very different.

As for some of the other things like drape, that's harder to 
demonstrate. However, when you have a woolen cloth of mixed spin, the 
spins "interact" in a way that makes them stick together more, so 
that the fulling process gives a denser matt (especially *between* 
the threads) than it would if you were using only S-spun or only Z-
spun fabric. If the matt is denser, then it drapes different and has 
a different hand. The finish will also be different, and with the 
mixed spun thread, it tends to be more durable so that it stands up 
to the napping (aka striking aka teaseling) process better than 
something that is not a mixed spun fabric.

I hope that helps explain how it can make a difference.

Kat Russell
<kat@grendal.rain.com>

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Date: Sat, 04 Jan 2003 14:00:35 -0800
Status: RO

To Fran-

At Norman Bernie's, in Burlingame, on Rollins Road. He's a fabric 
warehouse, mostly for home decorating but very adaptable to historical 
garb. Sometimes, he'll be carrying the same textile, at the same time, 
that Calico Corners has, but at better prices. My "present" was on the 
second floor, on the left hand wall, closest to the doorway.  Good 
luck!!!  (wouldn't that be funny if we both ended up at the same event, 
wearing different styles of the same fabric?)

Theresa Eacker

Lavolta Press wrote:

> 
> Theresa Eacker wrote:
> 
> 
>>6 yards of silk plaid taffeta, in autumn tones, embroidered with golden
>>brown sprays of wheat heads, destined for a Regency ball gown, if I can
>>bring myself to actually cut into it.  It's beautiful enough to just frame!!
>>
> 
> Where was it purchased?  (That is, how can I buy some?)
> 
> Fran
> 
> 
> --
> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.lavoltapress.com
> Historic and vintage dance
> http://www.lavoltapress.com/dance
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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Subject: Re: [h-cost] Medici exhibit in Chicago
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Date: Sat, 04 Jan 2003 14:10:13 -0800
Status: RO

WHHHHIIINE!!!! My husband won't let me hop on a plane and "pop" over to 
Chicago (from California) to see these lovely sounding exhibits. Do you 
know if the museum has exhibit catalogs for either of these shows 
(especially the textiles one)?  Or, could you post the URL so I could go 
pester the museum staff myself?

You're so fortunate to have been able to view these things personally. 
The SF Legion of Honor got the British Museum's Egyptian collection, 
which was wonderful, but no textiles, per se.

Theresa Eacker

lotsofteapots@charter.net wrote:(Prunings)

> I was able to go and see the Medici exhibit in Chicago this Thursday at the
> Art Institute...There was *so* much! A good number of
> portraits, but the statuary! Wow!
> 
> However, after the Medici exhibit I went down to the textiles exhibit -
> Renaissance Silks and Velvets. *Drool* The Art Institute was exhibiting part
> of their collection of Renn. velvets and silks to complement the Medici
> exhibit. To see these up close - to see the colors, the detail of the
> weaving, the embroidery....well, I thought I was saturated before going
> down, 


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Date: Sat, 4 Jan 2003 18:58:25 -0500
Status: RO

On Saturday 04 January 2003 03:22 pm, Lalah T Tillinghast wrote:
> <<<Tiny bone to pick.  Let us all remember that the 'Current Middle
> Ages'. of
> the SCA includes many periods that are to one or the other side of the
> actual Middle Ages.>>>
>
>         Not such a tiny bone actually.  You are absolutely right and the
> Appalachians was considered a good example of Elizabethan English which
> is actually a bit past the period I usually do too.  But I did think that
> the crafts in the Foxfire books might just be a bit closer to that period
> than anything else we are going to find.  The people that put them
> together were just trying to preserve the Appalachian way of life in
> print before it was gobbled up by the modern world (which it has pretty
> much done since they were written).
>
>         Thanks - I do tend to get frustrated by the long period covered
> by the SCA.  It is difficult to try to represent a 14th century lady when
> talking with an Elizabethan.  I would be more comfortable talking to my
> great grandmother from the American Civil War period.
>
Which illustrates my opinion about the SCA.  The SCA doesn't do "living 
history".  Instead, its members pick and choose among the living history 
types of activity they favor (period clothing, cooking, fighting, etc.) and 
focus just on those, in the period/s in which they are interested.


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Sat, 04 Jan 2003 15:18:25 -0800
Status: RO





I wish I could walk down that road
>and see where it goes.
>
That is exactly how I felt when I looked at it.  Gail just found the words.


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] interlibrary loan
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Date: Sat, 04 Jan 2003 18:25:23 -0600
Status: RO

Access to the OCLC FirstSearch database is a free service of our
library. It's not available from our web site, but anyone who walks
into one of our branches can use it ... and ProQuest ... and
InfoTrac ... and ...
<evil grin>

Sheryl

At 04:52 PM 1/3/03 -0600, you wrote:
>Sheryl Nance-Durst wrote:
>
> > Email me the list of the books and I can look them up on OCLC
> > (a major ILL network available to libraries). If it's in there,
> > I can email you with the info, then you take it to your local library
> > and request it.
> >
> > Sheryl Nance-Durst
> > [Who loves being a librarian - it supports her book habit]
>
>Dangerous, Dangerous!  :)  One of my local libraries gives patrons
>on-line access to the OCLC.  Now I can come up with lots of requests to
>keep my ILL librarian happy.  She actually pouts if I show up without
>any requests.
>
>--Charlene


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Date: Sat, 04 Jan 2003 18:28:50 -0600
Status: RO

Heather,
Did a quick search & here's what I came up with for Worth:

The age of Worth: Couturier to the Empress Eugénie.
Edith Saunders

Worth : father of haute couture /
Diana De Marly

The opulent era : fashions of Worth, Doucet and Pingat /
Elizabeth A Coleman
(This one will make you drool on the pages!)

The House of Worth fashion designs : a photographic record.
Victoria and Albert Museum.


Hope these help.
Sheryl Nance-Durst

At 07:55 AM 1/2/03 -0800, you wrote:


>Does anyone (Kendra?) know where a good starter guide to using
>interlibrary loan is online?  I'd really like to try to find copies
>of some of the out of print books on Worth, since I'm going to be
>creating an 1880s dress in his style for class this year.
>
>.heather.
>
>
>_______________________________________________
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From: Jennifer Geard <geard@verso.org>
To: h-costume@indra.com
Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sun, 5 Jan 2003 13:33:18 +1300
Status: RO

Hi All,

I'm following the authenticity discussion with interest.

Kat wrote:
> However, if you are looking at the
> changeover period in terms of spindle spun and wheel spun, you won't
> get fabrics which look the same unless they are spindle spun. You
> see, wheel (and machine) spinning is all S-spun. 

Kat, could you clarify whether you mean that medieval spinning on the 
great wheel was S-spun? In the woven cloths you're describing, are all 
the threads singles, or is there a plied warp and a singles weft?

Modern spinning-wheel spinning can be either S-spun or Z-spun. It 
depends entirely on the direction the spinner starts the wheel turning, 
and can be a trap for new spinners if they forget and change direction 
after a break. The Luttrell Psalter spinning wheel looks like it could 
be used in either direction as well, depending on whethere the spinster 
turned the wheel clockwise or anti-clockwise. Modern commercial 
spinning is another matter entirely, I was just surprised to see the 
comment about wheel-spinning.

Note that the ability to spin in both directions is important because 
when plying wool -- spinning two or more single threads together to 
form a stronger yarn -- you spin in the opposite direction to the twist 
of the singles. If it's the convention in your part of the world to 
spin singles on the wheel with S-twist, than you'd ply them with 
Z-twist. This balances the yarn, releasing some of the twist so the 
fibre's not trying to curl up into little bobbles.

Direction of spin is particularly important in shadow weaves, which have 
stripes made from bands of S- and Z-twisted threads. Although they're 
the same colour, the light reflects on them differently, giving subtle 
variation. Margrethe Hald's "Ancient Danish textiles from bogs and 
burials" has a fair amount of discussion of twist -- including mixed 
twist -- in her chapters on raw-materials-and-spinning, dating weaves 
and looms-and-fabrics. The fabrics she examines seem to have all the 
combinations of twists, although some are preferred at different times.

If you want to be really nit-picky, you can take some advice Carolyn 
Priest-Dorman gave me a decade ago and use the direction of spin to 
make continuous-twist tablet-weaving more even. The twist of the 
tablets during weaving is itself a form of plying, so by matching the 
twist of the threads to the twist of the cards you'll avoid having some 
cards that produce puffy (balanced twist) weaving while others produce 
tight (over-twist) weaving.

A couple of idle thoughts on sheep-to-shawl vs segmented stages of 
production. In Viking-age Scandinavia, the economy seems to have been 
largely based on homespun woollen fabric. I would guess/expect -- and 
could be proven wrong -- that the everyday clothing of the people may 
indeed have been shorn, spun, woven, finished, dyed, cut and sewn 
within the household. I also get the impression that desirable fabrics 
were those which had been imported (however acquired) and which used 
fibres or dyes which were not generally available to the household. 
This might be one of the differences between the Greenland gowns, which 
seem to be the sheep-to-shawl products of isolation, and the gear of 
those with easier contact with markets. With increasing urbanisation 
and trade specialisation, you'd get to the point where anyone who could 
afford to would purchase cloth made by specialists. 

I have no problem with the idea of purchasing appropriate cloth for 
costuming. I do think it's difficult -- sometimes not possible -- to 
find commercial cloths that match some historical types of cloths, and 
that's where you get to the question of how a low-thread-count 
handwoven broken-lozenge twill stacks up against a plain commercial 
twill. Part of it's about the finished products, but part of it's also 
a strategic choice about encouraging early attempts if the attempter is 
the sort of person who might go on to produce really good stuff down 
the line. A lot of it is about education: rediscovering and 
transmitting knowledge which would have been passed on in a lengthy and 
comprehensive apprenticeship. It's a long-term issue for many living 
history groups.

Cheers,
  Jennifer

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 02:02:14 +0100
Status: RO

Hello!
We had a disgussion back in time about wheel farthingales, weather they were
used or they used hip bolsters (french farthingales)
Then i found this quotation tonight in Norah Waughs book The Cut of Womens
Clothes.

Venetian Callendar 1617
 Queen Anne - Her Majesty's costume was pink and gold with so expansive a
farthingale that I do not exaggerate when I say it was four feet wide in the
hips. Her bosom was bare down to the pit of the stomach, forming as if it
were an oval. Her head dress, besides very valuable diamonds and other
jewels, consisted of such a quantity of false hair dressed in rays that she
looked exactly like a sun flower.
How about that!!!


  Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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To: h-costume@indra.com
From: Ron Carnegie <r.carnegie@verizon.net>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sat, 04 Jan 2003 20:01:20 -0500
Status: RO

At 12:04 PM 1/4/03 -0800, you wrote:

>>         Just as a note, most scholars in linguistics say the Appalachians
>>is the place to pick up Elizabethan English, not England because of the
>>isolation.  There are a series of books called the Foxfire books that
>>depict daily life, customs, and crafts of the region.  I would expect
>>that they are probably closer to English middle ages than most also.  The
>>region is being overrun and no where is really isolated now, but the
>>books were written some thirty to fifty years ago and mostly from
>>interviews with the older inhabitants.  I just thought about them when
>>this thread came up and am going to go check mine out as soon as I get
>>off the computer.

   Actually there is a lot of disagreement amongst Linguistic Scholars on 
this subject.  Some have said the Appalachians, others have said Tangier 
Island, yet another group states it is North Carolina and not Virginia at 
all.

         Understanding of the Cultural and historical makeup of the 
Appalachians throws even more doubt into the mix.  The Appalachians were 
not settled by Europeans until long after Elizabeth had died, in fact two 
James and a Charles  were gone by then.  Lastly the Appalachians were 
settled by a very large number of non-English which must have affected the 
language.  Germans, Scots-Irish and even French Hugenots could all be found 
living in the mountains, all bringing their own dialects and languages.



>__________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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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: Sat, 4 Jan 2003 19:56:33 -0500
Status: RO


----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Friday, January 03, 2003 9:48 PM
Subject: Re: [h-cost] Authenticity-questions to ponder


>
> >Something that Apollonia just wrote brought up an issue that I have long
> >been pondering. She mentioned that everyone can be more authentic than
> >they are, but she didn't want to shear her own sheep.
>
> Call me a city girl.  I carefully picked an SCA period, geographic
> location, and social station, where I was certain my persona wouldn't have
> had to shear her own sheep or spin or weave.  I chose to have my persona
> live in Nuremburg in the mid-1500s, where, if one had money, one could buy
> almost anything (who ever wove the velvet for their own dresses???).  So
at
> SCA events I have a persona who didn't have to cook the food I cooked for
> her, doesn't have to sew the dresses I sewed for her, didn't have to build
> the furniture I built for her, and can spend her time doing the things I
> would rather be doing, like embroidery.  She eats with a fork too, someone
> having brought her one from Italy as a gift.
>
> Other people, like Heather Rose Jones, love to do the spinning and weaving
> thing, and picked their personae accordingly.  I think she grew some flax
> once, to experience making linen fabric from it.
>
> But I agree that everyone could be more authentic than they are now.  Most
> of us chose to learn what authentic is, then decide how much of our
> knowledge we will put into practice.
>
> Kayta
>
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
>
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
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Subject: RE: [h-cost] ACW sewing machines
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Date: Sat, 4 Jan 2003 20:54:40 -0500
Status: RO

Both lockstitch and chain stitch machines were available during the Civil
War era and both types had been in use for some time.  There were also a
number of accessories and specialized presser feet in use during the era.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies of the 1860s Conference, March 7-9, 2003



Jane wrote:
Hang on a sec.... I'd found out that sewing machines
existed in the ACW period, and breathed a sigh of
relief (an ACW costume being my main project for the
coming year). Do I gather from this that they *didn't*
do the "standard" double running stitch that my
machine does, but a chain stitch instead?





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Subject: Re: [h-cost] Joan of Arc - somewhat OT
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Date: Sat, 04 Jan 2003 22:28:45 -0500
Status: RO

Hi. Another book that I have recently read on the subject is Marina Warner's
Joan of Arc; The Image of Female Heroism 1981 Univ. of Calif. Press ISBN
0-520-22464-7.  Good Luck, Mike T.



> Somewhat OT, but I know that someone here will have an answer - can you
> recommend good biographies of Joan of Arc? My sister is interested, and I'm
> not familiar with good authors who cover this period/person.
>

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Subject: Re: [h-cost] Medici exhibit in Chicago
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Date: Sat, 4 Jan 2003 22:03:13 -0600
Status: RO

The web address for the Art Institute is www.artic.edu

There was a large exhibit catalogue (which was $60) for the Medici exhibit.
This was, of course, rather extensive, with lots of stuff that was only
shown in Florence or Detroit. Definitely drool-worthy.

The textiles exhibit just had a small brochure at the entrance of their
room, which was free. I imagine they would be able to send you one of those.
The colors don't always come out right in the photos for the brochure. In
one example, the photo shows a blue acanthus motif on a yellow background,
but the background is actually a rather, um, *interesting* shade of green,
not quite chartruese, perhaps a bit more olive than that? Anyhow, the photos
are still gorgeous!


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

There's no such thing as too many books!

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


----- Original Message -----
From: "Theresa Eacker" <theresa@misc.com>
To: <h-costume@indra.com>
Sent: Saturday, January 04, 2003 4:10 PM
Subject: Re: [h-cost] Medici exhibit in Chicago


> WHHHHIIINE!!!! My husband won't let me hop on a plane and "pop" over to
> Chicago (from California) to see these lovely sounding exhibits. Do you
> know if the museum has exhibit catalogs for either of these shows
> (especially the textiles one)?  Or, could you post the URL so I could go
> pester the museum staff myself?
>
> You're so fortunate to have been able to view these things personally.
> The SF Legion of Honor got the British Museum's Egyptian collection,
> which was wonderful, but no textiles, per se.
>
> Theresa Eacker
>


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From: kat@grendal.rain.com
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Date: Sat, 04 Jan 2003 21:31:16 -0800
Status: RO


> I wrote:
> > However, if you are looking at the
> > changeover period in terms of spindle spun and wheel spun, you won't
> > get fabrics which look the same unless they are spindle spun. You
> > see, wheel (and machine) spinning is all S-spun. 

Now I'm getting myself confused. According to the MOL books, most 
early wheel spun is done S. Certainly the pieces of modern woolens 
seem to be S-spun. However, other books seem to say that Z-spun is 
more common.

> Kat, could you clarify whether you mean that medieval spinning on the
> great wheel was S-spun? 

>From what I've read, clockwise spun. While they could be done in the 
opposite spin, there was apparently a tendency to spin only 
clockwise.

Even with modern wheels, many are set up to be used for spinning in 
only one direction. It's awkward to use it in the opposite direction 
or the mechanism doesn't work quite right (depending on the type.)

>In the woven cloths you're describing, are all
> the threads singles, or is there a plied warp and a singles weft?

>From Geijer to Hald to the MOL books, I can't find any mention of 
plied warps in the threads they've examined from the medieval period. 
(Not to say plied threads were never used, but they talk about S-
spin/Z-spun threads not S-plied/Z-plied threads. If I've missed it, 
please tell me the page numbers where it is found.)

> Modern spinning-wheel spinning can be either S-spun or Z-spun. It
> depends entirely on the direction the spinner starts the wheel
> turning, and can be a trap for new spinners if they forget and change
> direction after a break. The Luttrell Psalter spinning wheel looks
> like it could be used in either direction as well, depending on
> whethere the spinster turned the wheel clockwise or anti-clockwise.
> Modern commercial spinning is another matter entirely, I was just
> surprised to see the comment about wheel-spinning.

It really depends on your wheel. Some are only done from the R side 
turning clockwise. Some are set up done from the L side, but still 
clockwise. Some work doing clockwise or counterclockwise depending on 
how you set up the fly. (Spindles are much easier in some ways. You 
can do it either way depending on your mood at the moment you begin 
the spinning.)
 
> Note that the ability to spin in both directions is important because
> when plying wool -- spinning two or more single threads together to
> form a stronger yarn -- you spin in the opposite direction to the
> twist of the singles. If it's the convention in your part of the world
> to spin singles on the wheel with S-twist, than you'd ply them with
> Z-twist. This balances the yarn, releasing some of the twist so the
> fibre's not trying to curl up into little bobbles.

It's interesting because it looks like many areas have conventions 
depending on the type of bast fibre they started spinning with 
spindles. If you spin linen the way you would hemp, it goes "against 
the grain" of the fibre. With wool it can be spun either way, but the 
conventions usually follow the predominant bast type.
 
> Direction of spin is particularly important in shadow weaves, which
> have stripes made from bands of S- and Z-twisted threads. Although
> they're the same colour, the light reflects on them differently,
> giving subtle variation. Margrethe Hald's "Ancient Danish textiles
> from bogs and burials" has a fair amount of discussion of twist --
> including mixed twist -- in her chapters on
> raw-materials-and-spinning, dating weaves and looms-and-fabrics. The
> fabrics she examines seem to have all the combinations of twists,
> although some are preferred at different times.

In the Hald book she talks about a 5th method found in the textiles, 
using mixed spinning in warp and weft (as opposed to all S, all Z, S 
warp/Z weft or Z warp/S weft.) I don't, however, get the impression 
that the mixed spinning warps/wefts were done with plied threads, but 
still singles. (When she does mention plied threads she writes it as 
S-plied as opposed to S-spun and Z-plied as opposed to Z-spun. See 
page 127.)

She also discusses how the twist of the fibre can make a pattern 
which is nearly as obvious to the eye as using dyed threads. 
Beautiful stuff (even if it is just fragments. I always imagine what 
it is that the garment or item it came from looked like.)
 
> If you want to be really nit-picky, you can take some advice Carolyn
> Priest-Dorman gave me a decade ago and use the direction of spin to
> make continuous-twist tablet-weaving more even. The twist of the
> tablets during weaving is itself a form of plying, so by matching the
> twist of the threads to the twist of the cards you'll avoid having
> some cards that produce puffy (balanced twist) weaving while others
> produce tight (over-twist) weaving.

Yep. But getting commercially spun threads of the opposite spin is a 
pain. ;) (I guess this is a time when you have to spin your own or 
pay someone to spin it for you.)

> A couple of idle thoughts on sheep-to-shawl vs segmented stages of
> production. In Viking-age Scandinavia, the economy seems to have been
> largely based on homespun woollen fabric. I would guess/expect -- and
> could be proven wrong -- that the everyday clothing of the people may
> indeed have been shorn, spun, woven, finished, dyed, cut and sewn
> within the household. I also get the impression that desirable fabrics
> were those which had been imported (however acquired) and which used
> fibres or dyes which were not generally available to the household.
> This might be one of the differences between the Greenland gowns,
> which seem to be the sheep-to-shawl products of isolation, and the
> gear of those with easier contact with markets. With increasing
> urbanisation and trade specialisation, you'd get to the point where
> anyone who could afford to would purchase cloth made by specialists. 

I think you're right about this.
 
> I have no problem with the idea of purchasing appropriate cloth for
> costuming. I do think it's difficult -- sometimes not possible -- to
> find commercial cloths that match some historical types of cloths, and
> that's where you get to the question of how a low-thread-count
> handwoven broken-lozenge twill stacks up against a plain commercial
> twill. Part of it's about the finished products, but part of it's also
> a strategic choice about encouraging early attempts if the attempter
> is the sort of person who might go on to produce really good stuff
> down the line. A lot of it is about education: rediscovering and
> transmitting knowledge which would have been passed on in a lengthy
> and comprehensive apprenticeship. It's a long-term issue for many
> living history groups.

Exactly. And it also depends on how much you want to do the other 
things. For example, I like to handsew, I like pattern making and I 
like to research. I've tried spinning, weaving, etc (and I've done a 
lot of dyeing), but I'd much rather actually make a garment than put 
my effort into making the fabric to make the garment. Also, I figure 
that I'd be using bought, finished fabrics anyway, not producing them 
myself. (Not a subsistence kind of gal.)

Kat Russell
<kat@grendal.rain.com>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sun, 5 Jan 2003 02:06:38 -0500
Status: RO

On Sunday 05 January 2003 12:31 am, kat@grendal.rain.com wrote:
> > I wrote:
> > > However, if you are looking at the
> > > changeover period in terms of spindle spun and wheel spun, you won't
> > > get fabrics which look the same unless they are spindle spun. You
> > > see, wheel (and machine) spinning is all S-spun.
>
> Now I'm getting myself confused. According to the MOL books, most
> early wheel spun is done S. Certainly the pieces of modern woolens
> seem to be S-spun. However, other books seem to say that Z-spun is
> more common.

I thought that it varied by fiber, with wool more likely to be S-spun, flax 
(linen) to be Z-spun.



-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: =?iso-8859-1?q?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: RE: [h-cost] ACW sewing machines
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Date: Sun, 5 Jan 2003 07:20:38 +0000 (GMT)
Status: RO

 --- Carolann Schmitt <cschmitt@genteelarts.com>
wrote: 

> Both lockstitch and chain stitch machines were
> available during the Civil
> War era and both types had been in use for some
> time.  There were also a
> number of accessories and specialized presser feet
> in use during the era.

Phew! Thanks for that.



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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 06:33:20 -0700
Status: RO

There is a picture (photograph) in 20,000 years of fashion (page 377 in
my edition) of a woman with being dressed during a fitting.  She has a
farthingale on so large that the people dressing her are putting her
gown on over her head with sticks, so as not to step on her 'cage'!!  Of
course this is a later period (1865), but I would guess the farthingale
is 10-12 feet in diameter.  That would make it about 4 feet wide at the
hips!  The dressers are standing on chairs.

Also interesting is the exposed bust!  I know we've talked about it
before, but wow!  Do you suppose they mean really bare, or just not
covered with the gown itself??
I have somewhere in my notes (too lazy to go look) of an Elizabethan
engraving with someone's bust exposed at  picnic!  That is one way to
cool off.

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Bjarne og Leif Drews
>Sent: Saturday, January 04, 2003 6:02 PM
>To: h-costume@indra.com
>Subject: [h-cost] WHEELFARTHINGALE!!!
>
>Hello!
>We had a disgussion back in time about wheel farthingales, weather they
were
>used or they used hip bolsters (french farthingales)
>Then i found this quotation tonight in Norah Waughs book The Cut of
Womens
>Clothes.
>
>Venetian Callendar 1617
> Queen Anne - Her Majesty's costume was pink and gold with so expansive
a
>farthingale that I do not exaggerate when I say it was four feet wide
in the
>hips. Her bosom was bare down to the pit of the stomach, forming as if
it
>were an oval. Her head dress, besides very valuable diamonds and other
>jewels, consisted of such a quantity of false hair dressed in rays that
she
>looked exactly like a sun flower.
>How about that!!!
>
>
>  Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
>h-costume mailing list
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From: "Carolann Schmitt" <cschmitt@genteelarts.com>
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Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 09:36:53 -0500
Status: RO

IMHO, this photograph is staged.  I've not found any evidence that this
crinoline was intended to be worn anywhere other than in this photograph
(and I've been looking for 30+ years). I don't know whether this enormous
crinoline was created to be used as a form of publicity for the manufacturer
or as a piece of satire, but I seriously doubt it was ever worn outside that
room.

The photo in the book has been cropped from its original size.  In the lower
right hand corner you can see a "normal-sized" crinoline lying on the floor,
and in the full photo other regular sized crinolines can be seen.  Satirical
cartoons and photographs of exaggerated crinolines are quite common during
this period - great to look and laugh at, but not really reliable
documentation.

Carolann Schmitt
cschmitt@genteelarts.com
www.genteelarts.com
Ladies of the 1860s Conference, March 7-9, 2003


<<There is a picture (photograph) in 20,000 years of fashion (page 377 in my
edition) of a woman with being dressed during a fitting.  She has a
farthingale on so large that the people dressing her are putting her gown on
over her head with sticks, so as not to step on her 'cage'!!  Of course this
is a later period (1865), but I would guess the farthingale is 10-12 feet in
diameter.  That would make it about 4 feet wide at the hips!  The dressers
are standing on chairs.>>





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From h-costume-admin@indra.com  Sun Jan  5 11:00:40 2003
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From: kat@grendal.rain.com
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Date: Sun, 05 Jan 2003 07:55:54 -0800
Status: RO

Cathy wrote:
> I thought that it varied by fiber, with wool more likely to be S-spun,
> flax (linen) to be Z-spun.

It varies by vegetable fibre (such as linen, ramie, hemp, nettle) 
because plants have their own "direction of spin", but the wool can 
be spun either direction. (With the most common direction varying 
based on factors like the introduction of new technology such as the 
wheel and what the predominant vegetable fibre is for that area.)

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 07:55:53 -0800
Status: RO

> Also interesting is the exposed bust!  I know we've talked about it
> before, but wow!  Do you suppose they mean really bare, or just not
> covered with the gown itself?? I have somewhere in my notes (too lazy
> to go look) of an Elizabethan engraving with someone's bust exposed at
>  picnic!  That is one way to cool off.

You can thank our Victorian ancestors that there are not very many 
portrait or other information about that. If you look at some of the 
portraits from the late Elizabethan and Jacobean time you can see 
these fantasticly low necklines. Most people who know about female 
breast position/anatomy wonder how they could possibly get them into 
that low a neckline without exposing the nipples. The answer is that 
they didn't. However, if you examine the paintings with methods which 
show the underlying paint layers (such as IR and xray) you find that 
those nipples are "present and accounted for". Woodcuts faired even 
more poorly. Except for the ones like you mention above (I've also 
seen one of a very proper lady serving her family and the visiting 
minister at dinner), most of the engraving/woodcuts have very odd 
scratchings over that area, courtesy of their prudish descendants. 

Kat Russell
<kat@grendal.rain.com>

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--0-715947267-1041783985=:89546
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I have been following the authenticity discussion and I have gotten the inclination to try an learn how to spin. As I have very little space it will have to be on a spindle and since I break out from lanolin, I have to do linen.

My question. Is it best to start with a teacher? Where can you get hold of linen line?

And Bjarne. Where in Denmark can you get hold of bobbinlace making supplies?

Tania



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<P>I have been following the authenticity discussion and I have gotten the inclination to try an learn how to spin. As I have very little space it will have to be on a spindle and since I break out from lanolin, I have to do linen.</P>
<P>My question. Is it best to start with a teacher? Where can you get hold of linen line?</P>
<P>And Bjarne. Where in Denmark can you get hold of bobbinlace making supplies?</P>
<P>Tania</P><p><br><hr size=1>Do you Yahoo!?<br>
<a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Yahoo! Mail Plus</a> - Powerful. Affordable. <a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Sign up now</a>
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Date: Sun, 5 Jan 2003 10:45:19 -0600
Status: RO

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You could try cotton.  Also, llama wool is lanolin-free, soft, and very
beautiful...

Talia
  -----Original Message-----
  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Tania Gruning
  Sent: Sunday, January 05, 2003 10:26 AM
  To: h-costume@indra.com
  Subject: [h-cost] spinning


  I have been following the authenticity discussion and I have gotten the
inclination to try an learn how to spin. As I have very little space it will
have to be on a spindle and since I break out from lanolin, I have to do
linen.

  My question. Is it best to start with a teacher? Where can you get hold of
linen line?

  And Bjarne. Where in Denmark can you get hold of bobbinlace making
supplies?

  Tania





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<DIV><SPAN class=3D770474316-05012003><FONT face=3DArial color=3D#0000ff =
size=3D2>You=20
could try&nbsp;cotton. &nbsp;Also, llama wool is lanolin-free, soft, and =
very=20
beautiful...</FONT></SPAN></DIV>
<DIV><SPAN class=3D770474316-05012003><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D770474316-05012003><FONT face=3DArial color=3D#0000ff =

size=3D2>Talia</FONT></SPAN></DIV>
<BLOCKQUOTE>
  <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT =
face=3DTahoma=20
  size=3D2>-----Original Message-----<BR><B>From:</B> =
h-costume-admin@indra.com=20
  [mailto:h-costume-admin@indra.com]<B>On Behalf Of </B>Tania=20
  Gruning<BR><B>Sent:</B> Sunday, January 05, 2003 10:26 =
AM<BR><B>To:</B>=20
  h-costume@indra.com<BR><B>Subject:</B> [h-cost] =
spinning<BR><BR></FONT></DIV>
  <P>I have been following the authenticity discussion and I have gotten =
the=20
  inclination to try an learn how to spin. As I have very little space =
it will=20
  have to be on a spindle and since I break out from lanolin, I have to =
do=20
  linen.</P>
  <P>My question. Is it best to start with a teacher? Where can you get =
hold of=20
  linen line?</P>
  <P>And Bjarne. Where in Denmark can you get hold of bobbinlace making=20
  supplies?</P>
  <P>Tania</P>
  <P><BR>
  <HR SIZE=3D1>
  Do you Yahoo!?<BR><A=20
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] ACW sewing machines
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Date: Sun, 05 Jan 2003 08:44:47 -0800
Status: RO


> > As it happens, I have a chain-stitch sewing machine,
> > and I plan to make at
> > least one ACW-period dress on it.  Just to have done
> > it.  But the machine
> > itself sews very nicely, so I might use it for other
> > historical things as,
> > it seems, that brand of chain-stitch machine was
> > still being sold well into
> > the 1900s.
>
>Hang on a sec.... I'd found out that sewing machines
>existed in the ACW period, and breathed a sigh of
>relief (an ACW costume being my main project for the
>coming year). Do I gather from this that they *didn't*
>do the "standard" double running stitch that my
>machine does, but a chain stitch instead?

I'm pretty sure chain-stitch machines came first.  The company who made my 
chain-stitch machine (Wilcox and Gibbs) was founded in 1857,  and by 1865 
they were up to serial number 90,000 (and they weren't the only company 
producing sewing machines, of course).  I know the early models of 
lock-stitch machines were very expensive, so not every household could 
afford one.  But by 1865 lock-stitch machines were in private homes, thanks 
to a marketing push by one of the manufacturers (Singer?).

Kayta

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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sun, 05 Jan 2003 09:03:13 -0800
Status: RO


>
> >         Thanks - I do tend to get frustrated by the long period covered
> > by the SCA.

I differ from most SCA members in that I worked out my persona like they do 
at Ren' Faire or living history sites.  So I can interact with anyone in an 
SCA context, no problem.  My persona is a Catholic, unlike me, and she 
knows she died.  And then there was the SCA.  After she got over the shock, 
she decided it wasn't Heaven, because God and the Saints weren't here.  She 
figured it wasn't Hell, because there were hospitals and charities 
here.  So it must be Purgatory, and her new task was to earn her way into 
Heaven thru good works.  And seeing Medievals, airplanes, women wearing 
Levis, Punks with spiked blue hair, and whatever else is here that she 
doesn't understand, must all be a test, because nobody would be here, 
Vikings, Mongols, or whoever, if God hadn't wanted them to be here.  So 
everything is right with her, and being dead isn't so bad.

>Which illustrates my opinion about the SCA.  The SCA doesn't do "living
>history".  Instead, its members pick and choose among the living history
>types of activity they favor (period clothing, cooking, fighting, etc.) and
>focus just on those, in the period/s in which they are interested.

I joined the SCA in 1971, and I was not aware that the SCA considered 
itself a living history group.  I get my living history elsewhere.

Kayta

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Date: Sun, 05 Jan 2003 10:17:49 -0700
Status: RO

What about silk, though?
--sue

kat@grendal.rain.com wrote:
> 
> Cathy wrote:
> > I thought that it varied by fiber, with wool more likely to be S-spun,
> > flax (linen) to be Z-spun.
> 
> It varies by vegetable fibre (such as linen, ramie, hemp, nettle)
> because plants have their own "direction of spin", but the wool can
> be spun either direction. (With the most common direction varying
> based on factors like the introduction of new technology such as the
> wheel and what the predominant vegetable fibre is for that area.)
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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] Medici exhibit in Chicago
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Date: Sun, 05 Jan 2003 12:21:51 -0500
Status: RO

On Sat, 4 Jan 2003 22:03:13 -0600, Rebecca Schmitt 
<lotsofteapots@charter.net> wrote:

>The web address for the Art Institute is www.artic.edu
>There was a large exhibit catalogue (which was $60) for the Medici exhibit.
>This was, of course, rather extensive, with lots of stuff that was only
>shown in Florence or Detroit. Definitely drool-worthy.

Do you by any chance recall any of the bibliographic information on that 
catalogue? The online store has no related book or catalogue in that price 
range, and I'd be interested in seeing if my local discounter (which has a 
vast collection of art books) might have a copy for sale...

>The colors don't always come out right in the photos for the brochure. In
>one example, the photo shows a blue acanthus motif on a yellow background,
>but the background is actually a rather, um, *interesting* shade of green,
>not quite chartruese, perhaps a bit more olive than that? Anyhow, the photos
>are still gorgeous!

This is one of the major problems with (1) digital over film photography; 
(2) in film photography, the selection of photographic film and lighting 
for photography, standard-process film development and printing; (3) 
printing over live-viewing -- especially process printing over much more 
expensive spot-color and dye transfer printing techniques... *sigh*


Brenda
webwarren@earthlink.net


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Date: Sun, 05 Jan 2003 09:28:31 -0800
Status: RO

At 06:33 AM 01/05/2003 -0700, Saragrace Knauf wrote:
>There is a picture (photograph) in 20,000 years of fashion (page 377 in
>my edition) of a woman with being dressed during a fitting.  She has a
>farthingale on so large that the people dressing her are putting her
>gown on over her head with sticks, so as not to step on her 'cage'!!  Of
>course this is a later period (1865), but I would guess the farthingale
>is 10-12 feet in diameter.  That would make it about 4 feet wide at the
>hips!  The dressers are standing on chairs.

That picture was originally produced as a stereopticon (sp?) slide.  They
were manufactured as novelties, and often had "joke" themes, which is what
this one is.  It's a spoof, not reality.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <20030104.152237.-555631.6.catpurson@juno.com> <20030104.152237.-555631.6.catpurson@juno.com> <4.3.1.2.20030105090020.00d5e600@mail.frys.com>
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Subject: [h-cost] Living History vs. SCA humourous site - or offensive so proceed with caution
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Date: Sun, 5 Jan 2003 09:39:18 -0800
Status: RO

There is an extreamly funny section on a site from the Routiers - The Pike
and Muskett Society in NSW that deals with the problems the SCA has to cope
with in having a wide range of time spans and an all inclusive approach to
participation.  The site is very funny, but it is definetly from a living
history perspective with a strong bias against the SCA as a living history
organisation.  http://www.routiers.org/culture.htm it the page to enter and
click the SCA.  Please don't read it if you are inclinded to be upset by the
words of extreamly arrogant men obsessed by very large metal weapons :)
Personally, I think the SCA is a great organisation for a number of people
with a diverse range of goals and I don't knock it in the least but I nearly
wet myself laughing when I stumbled across this site so I thought I would
share.  Also the entry page www.routiers.org and a pretty nifty take off on
Rembrandts The Anatomy Lesson of Dr. Tulp.

Lisa




----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Sunday, January 05, 2003 9:03 AM
Subject: Re: [h-cost] Authenticity-questions to ponder


>
> >
> > >         Thanks - I do tend to get frustrated by the long period
covered
> > > by the SCA.
>
> I differ from most SCA members in that I worked out my persona like they
do
> at Ren' Faire or living history sites.  So I can interact with anyone in
an
> SCA context, no problem.  My persona is a Catholic, unlike me, and she
> knows she died.  And then there was the SCA.  After she got over the
shock,
> she decided it wasn't Heaven, because God and the Saints weren't here.
She
> figured it wasn't Hell, because there were hospitals and charities
> here.  So it must be Purgatory, and her new task was to earn her way into
> Heaven thru good works.  And seeing Medievals, airplanes, women wearing
> Levis, Punks with spiked blue hair, and whatever else is here that she
> doesn't understand, must all be a test, because nobody would be here,
> Vikings, Mongols, or whoever, if God hadn't wanted them to be here.  So
> everything is right with her, and being dead isn't so bad.
>
> >Which illustrates my opinion about the SCA.  The SCA doesn't do "living
> >history".  Instead, its members pick and choose among the living history
> >types of activity they favor (period clothing, cooking, fighting, etc.)
and
> >focus just on those, in the period/s in which they are interested.
>
> I joined the SCA in 1971, and I was not aware that the SCA considered
> itself a living history group.  I get my living history elsewhere.
>
> Kayta
>
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Sun, 5 Jan 2003 13:47:33 -0500
Status: RO

On Sunday 05 January 2003 12:03 pm, Carolyn Kayta Barrows wrote:
> > >         Thanks - I do tend to get frustrated by the long period covered
> > > by the SCA.
>
> I differ from most SCA members in that I worked out my persona like they do
> at Ren' Faire or living history sites.  So I can interact with anyone in an
> SCA context, no problem.  My persona is a Catholic, unlike me, and she
> knows she died.  And then there was the SCA.  After she got over the shock,
> she decided it wasn't Heaven, because God and the Saints weren't here.  She
> figured it wasn't Hell, because there were hospitals and charities
> here.  So it must be Purgatory, and her new task was to earn her way into
> Heaven thru good works.  And seeing Medievals, airplanes, women wearing
> Levis, Punks with spiked blue hair, and whatever else is here that she
> doesn't understand, must all be a test, because nobody would be here,
> Vikings, Mongols, or whoever, if God hadn't wanted them to be here.  So
> everything is right with her, and being dead isn't so bad.
>
> >Which illustrates my opinion about the SCA.  The SCA doesn't do "living
> >history".  Instead, its members pick and choose among the living history
> >types of activity they favor (period clothing, cooking, fighting, etc.)
> > and focus just on those, in the period/s in which they are interested.
>
> I joined the SCA in 1971, and I was not aware that the SCA considered
> itself a living history group.

I have never heard anyone *in* the SCA express the believe that SCA is a 
living history group (in fact, I have no idea exactly how the SCA classifies 
itself).  However, non-members get that impression and say things to that 
effect.

  I get my living history elsewhere.

Of course.

I myself am fascinated by living history, but have not attempted to join a 
living history group because I don't believe I have the time to devote to the 
level of research required.

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Sun, 5 Jan 2003 14:04:05 -0500
Status: RO

On Sunday 05 January 2003 10:55 am, kat@grendal.rain.com wrote:
> Cathy wrote:
> > I thought that it varied by fiber, with wool more likely to be S-spun,
> > flax (linen) to be Z-spun.
>
> It varies by vegetable fibre (such as linen, ramie, hemp, nettle)
> because plants have their own "direction of spin", but the wool can
> be spun either direction. 

Hmm.  I wonder if there is a preferred direction of spin for wool anyway, 
though.  Was the direction of spin for wool chosen to obtain particular 
effects, or was it primarily a cultural thing?

(With the most common direction varying
> based on factors like the introduction of new technology such as the
> wheel and what the predominant vegetable fibre is for that area.)

This factor I was aware of. 

Thanks, as always, for the information.  I can barely make a tablet-woven belt 
myself, and I have never attempted to weave fabric.  So I have a hard time 
following discussions of spin and weave myself (though I find them 
fascinating).


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 11:35:35 -0700
Status: RO

>That picture was originally produced as a stereopticon (sp?) slide.
They
>were manufactured as novelties, and often had "joke" themes, which is
what
>this one is.  It's a spoof, not reality.

This may be true, but there are fashion plates that depict similar sized
gowns.

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Subject: [h-cost] The Generalls Music at the Museum of London
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Date: Sun, 5 Jan 2003 18:53:43 -0000
Status: RO

Hi all,
I had the great pleasure of listening to music made by Kate Bunting
and her conferes, as well as watching the dancing,  in the Museum of
London today. Actually, I was there for some of it yesterday, and
liked it so much I went back to it today:-) Kate's costume was quietly
elegant, beautifully judged as to place and time. If anyone else gets
an opportunity I most heartily recommend that they take it...
best wishes
Stevie



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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 13:11:06 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003, Saragrace Knauf wrote:

> There is a picture (photograph) in 20,000 years of fashion (page 377
> in my edition) of a woman with being dressed during a fitting.  She
> has a farthingale on so large that the people dressing her are putting
> her gown on over her head with sticks, so as not to step on her
> 'cage'!!  Of course this is a later period (1865), but I would guess
> the farthingale is 10-12 feet in diameter.  That would make it about 4
> feet wide at the hips!

Just as a semantic clarification: The quote Bjarne gave was "Her Majesty's
costume was pink and gold with so expansive a farthingale that I do not
exaggerate when I say it was four feet wide in the hips." There are a
couple of ways to read that, some more likely than others. I remember the
first time I saw a reference to this quote was in some old costume book
that paraphrased it as meaning "extending four feet from the hip," which
is what Saragrace describes above for the 1865 illustration. I thought
that the four-feet-extension measurement sounded preposterous for early
1600s when I first read it, and was much relieved later when I found the
original quote, which is far more likely to mean a *total* width of four
feet from one side to another.

My French farthingale (bolster-style) is 28 inches in diameter, and quite
conservative. It looks a bit bigger once all the skirts are arranged over
it, and it would be even bigger if I were larger around the waist. I could
see a royal version coming to about 48 inches (or close to it) visually --
still possible to construct, but certainly imposing enough to inspire this
sort of comment.

Interestingly, I lately came across this quote, purportedly from the
Discours sur la Mode, 1613:
	The large vertugadin is common to all French women;
	The bourgeoises wear it freely now,
	Just the same as the great ladies, if it be not
	That the bourgeoise is content with a smaller one;
	For the great ladies are not satisfied 
	With a vertugadin less than five yards round. I wouldn't be quick
to take the "five yards" as an exact measurement, as the quote was almost
certainly originally in French, and the original is not given in this book
-- the undependable "Historic Costume" by Katherine Morris Lester and Rose
Netzorg Kerr, originally 1925 (I have a 1961 edition). The original might
have been five ells, or some other measurement that doesn't correspond to
modern yardage. In addition to the translation issue, there's also the
likelihood that this description is an exaggeration (given the context of
criticism of current fashion). And there's even the possibility that the
yardage (or whatever measurement) referred to the width of the skirt that
goes over the farthingale, which would be somewhat larger than the
farthingale circumference to allow for pleating.

For what it's worth, a 48-inch-diameter circle has a circumference of 151
inches, or a bit over four yards in modern measurements.

--Robin



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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 13:55:53 -0500
Status: RO

        The picture I am getting in my mind's eye is not something I
would want to meet in real life!

Lalah
Never give up, Never surrender
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10301051248020.4315-100000@shell.nightowl.net>
Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 20:47:24 +0100
Status: RO

The way i read this is that she has a farthingale wich is 4 feet in the
hips.
Then i am unsertan if they used the word farthingales for the bum rolls.
My point is that it is a wheel shaped farthingale 3 feet in the hips.
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Sunday, January 05, 2003 8:11 PM
Subject: RE: [h-cost] WHEELFARTHINGALE!!!


>
> On Sun, 5 Jan 2003, Saragrace Knauf wrote:
>
> > There is a picture (photograph) in 20,000 years of fashion (page 377
> > in my edition) of a woman with being dressed during a fitting.  She
> > has a farthingale on so large that the people dressing her are putting
> > her gown on over her head with sticks, so as not to step on her
> > 'cage'!!  Of course this is a later period (1865), but I would guess
> > the farthingale is 10-12 feet in diameter.  That would make it about 4
> > feet wide at the hips!
>
> Just as a semantic clarification: The quote Bjarne gave was "Her Majesty's
> costume was pink and gold with so expansive a farthingale that I do not
> exaggerate when I say it was four feet wide in the hips." There are a
> couple of ways to read that, some more likely than others. I remember the
> first time I saw a reference to this quote was in some old costume book
> that paraphrased it as meaning "extending four feet from the hip," which
> is what Saragrace describes above for the 1865 illustration. I thought
> that the four-feet-extension measurement sounded preposterous for early
> 1600s when I first read it, and was much relieved later when I found the
> original quote, which is far more likely to mean a *total* width of four
> feet from one side to another.
>
> My French farthingale (bolster-style) is 28 inches in diameter, and quite
> conservative. It looks a bit bigger once all the skirts are arranged over
> it, and it would be even bigger if I were larger around the waist. I could
> see a royal version coming to about 48 inches (or close to it) visually --
> still possible to construct, but certainly imposing enough to inspire this
> sort of comment.
>
> Interestingly, I lately came across this quote, purportedly from the
> Discours sur la Mode, 1613:
> The large vertugadin is common to all French women;
> The bourgeoises wear it freely now,
> Just the same as the great ladies, if it be not
> That the bourgeoise is content with a smaller one;
> For the great ladies are not satisfied
> With a vertugadin less than five yards round. I wouldn't be quick
> to take the "five yards" as an exact measurement, as the quote was almost
> certainly originally in French, and the original is not given in this book
> -- the undependable "Historic Costume" by Katherine Morris Lester and Rose
> Netzorg Kerr, originally 1925 (I have a 1961 edition). The original might
> have been five ells, or some other measurement that doesn't correspond to
> modern yardage. In addition to the translation issue, there's also the
> likelihood that this description is an exaggeration (given the context of
> criticism of current fashion). And there's even the possibility that the
> yardage (or whatever measurement) referred to the width of the skirt that
> goes over the farthingale, which would be somewhat larger than the
> farthingale circumference to allow for pleating.
>
> For what it's worth, a 48-inch-diameter circle has a circumference of 151
> inches, or a bit over four yards in modern measurements.
>
> --Robin
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>


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Date: Sun, 05 Jan 2003 13:01:44 -0700
Status: RO

Oooooh! I envy you! I only had a few hours there, this summer.  *sigh*
Tell us more about Kate's costume! <g>
--sue

Stevie Gamble wrote:
> 
> Hi all,
> I had the great pleasure of listening to music made by Kate Bunting
> and her conferes, as well as watching the dancing,  in the Museum of
> London today. Actually, I was there for some of it yesterday, and
> liked it so much I went back to it today:-) Kate's costume was quietly
> elegant, beautifully judged as to place and time. If anyone else gets
> an opportunity I most heartily recommend that they take it...
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From h-costume-admin@indra.com  Sun Jan  5 15:35:29 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 14:47:18 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003, Bjarne og Leif Drews wrote:

> The way i read this is that she has a farthingale wich is 4 feet in
> the hips. Then i am unsertan if they used the word farthingales for
> the bum rolls. My point is that it is a wheel shaped farthingale 3
> feet in the hips.

Yes, definitely, I read it also as referring to the skirt shape that
people today call the "wheel farthingale," meaning the type that makes the
skirt look as though it's sticking out from the waist in a circular shape.
The time period is right for that, too. But I don't get anything from the
quote that tells us the nature of the structure that's holding up the
skirts.

The word "farthingale" was used to describe a number of different types of
skirt supports, starting with the Spanish farthingale, which was made of
graduated hoops. There's no question that the style that we call the
"wheel" shape was made with the use of something called a "French
farthingale," since that's the term that was used for that visual style in
period. "Wheel farthingale" was not a period term; it was invented by
later historians as a description of the visual shape seen in the
portraits from around the early 1600s. Later writers have also called it a
"cartwheel farthingale," "Catherine-wheel farthingale," and "drum
farthingale," all apparently based on the appearance of the shape in
portraits. I haven't yet found a recorded use of any of these terms that
dates to the time in which this shape was worn. (If someone has such a
reference, let me know!)

So we know that whatever-it-was they were wearing, the people who were
wearing it called it the French farthingale. The question, then, is what
the "French farthingale" itself was made of. Modern scholars have assumed
it was a boned structure (as pictured in Hunnisett and others), perhaps a
circle of sturdy cloth held in shape with concentric circles of whalebone
(or metal or another material), with or without a hooped skirt hanging
down. When I tried to track this idea back to the sources from the period,
though, I found that the trail dead-ended in the late 1700s, with the
suppositions of the costume historians at the time, who were steeped in
the personal knowledge of 1700s styles (panniers and other wire
frameworks). References from the early 1600s are more consistent with the
idea that it was a structured bolster. There is no period reference, of
those I've seen, that definitively requires interpretation as a
wheel-frame, but there are many references that do require interpretation
as a stuffed roll (including some dictionary definitions).

This "French farthingale" roll would probably *not* have been called a
bum-roll. That term appears to have been used for a less formal
arrangement of pads, and if I remember correctly, it's used in the plural
(bum-rolls). Based on the one quote I know in which both terms are used
together, his arrangement would likely have been a middle-class substitute
for the structured farthingale roll. Alas, modern costume historians have
picked up the colorful term "bum-roll" and applied it to just about every
form of hip padding or bolster that occurs anywhere near this period, even
the padding that well predates the earliest recorded use of the term
(1601).

It's been a while since this has come up on the list. People who want to
see the earlier discussions can catch up in the archives, or (for
convenience) in my compilation of posts from the archives at
<http://www.netherton.net/robin>.

--Robin




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Date: Sun, 5 Jan 2003 12:43:29 -0800
Status: RO

re: Do you by any chance recall any of the bibliographic information on that
catalogue? The online store has no related book or catalogue in that price
range, and I'd be interested in seeing if my local discounter (which has a
vast collection of art books) might have a copy for sale...

the catalog has not yet been published:
http://www.amazon.com/exec/obidos/ASIN/0895581582/104-5941505-4546343
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Subject: Busts & Prudes/Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 21:42:01 +0000
Status: RO


On Sunday, January 5, 2003, at 03:55  pm, kat@grendal.rain.com wrote:

> You can thank our Victorian ancestors that there are not very many
> portrait or other information about that. If you look at some of the
> portraits from the late Elizabethan and Jacobean time you can see
> these fantasticly low necklines. Most people who know about female
> breast position/anatomy wonder how they could possibly get them into
> that low a neckline without exposing the nipples. The answer is that
> they didn't.

Exactly.Its not like Super Glue and double sided tape was discreetly 
applied.

>  However, if you examine the paintings with methods which
> show the underlying paint layers (such as IR and xray) you find that
> those nipples are "present and accounted for".

What about all those fig leaves the Victorians modestly covered various 
sculptures with?

>  Woodcuts faired even
> more poorly. Except for the ones like you mention above (I've also
> seen one of a very proper lady serving her family and the visiting
> minister at dinner), most of the engraving/woodcuts have very odd
> scratchings over that area, courtesy of their prudish descendants.

Indeed and very few survive that show a bare bosom.
As I understand the trend,a bare bosom indicated the maidenhood of the 
young woman and her virginity.17thC doxies on the other hand are reputed 
to have encarmined their nipples with cochenial to entice customers.Our 
ancestors were a very hearty bunch back then,clearly indicated by some 
of the more lurid ditties and plays that survive intact.

Marcus.

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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 21:56:53 +0000
Status: RO


On Sunday, January 5, 2003, at 08:47  pm, Robin Netherton wrote:

>
> On Sun, 5 Jan 2003, Bjarne og Leif Drews wrote:
>
>> The way i read this is that she has a farthingale wich is 4 feet in
>> the hips. Then i am unsertan if they used the word farthingales for
>> the bum rolls. My point is that it is a wheel shaped farthingale 3
>> feet in the hips.
>
> Yes, definitely, I read it also as referring to the skirt shape that
> people today call the "wheel farthingale," meaning the type that makes 
> the
> skirt look as though it's sticking out from the waist in a circular 
> shape.
> The time period is right for that, too. But I don't get anything from 
> the
> quote that tells us the nature of the structure that's holding up the
> skirts.

Probably the most accurate and authentic 'reading' as to scale.
>
>  "Wheel farthingale" was not a period term; it was invented by
> later historians as a description of the visual shape seen in the
> portraits from around the early 1600s. Later writers have also called 
> it a
> "cartwheel farthingale," "Catherine-wheel farthingale," and "drum
> farthingale," all apparently based on the appearance of the shape in
> portraits.

Correct.

>  I haven't yet found a recorded use of any of these terms that
> dates to the time in which this shape was worn. (If someone has such a
> reference, let me know!)

I've been looking for 30 years and have not found documentable reference 
anywhere.
>
> So we know that whatever-it-was they were wearing, the people who were
> wearing it called it the French farthingale. The question, then, is what
> the "French farthingale" itself was made of. Modern scholars have 
> assumed
> it was a boned structure (as pictured in Hunnisett and others), 
> perhaps a
> circle of sturdy cloth held in shape with concentric circles of 
> whalebone
> (or metal or another material), with or without a hooped skirt hanging
> down. When I tried to track this idea back to the sources from the 
> period,
> though, I found that the trail dead-ended in the late 1700s, with the
> suppositions of the costume historians at the time, who were steeped in
> the personal knowledge of 1700s styles (panniers and other wire
> frameworks). References from the early 1600s are more consistent with 
> the
> idea that it was a structured bolster. There is no period reference, of
> those I've seen, that definitively requires interpretation as a
> wheel-frame, but there are many references that do require 
> interpretation
> as a stuffed roll (including some dictionary definitions).

The nearest I've ever come to for an extent example is the one that was 
used on the wax effigy of Elizabeth.However its made with cane in a 
cotton form and was constructed when the statue was cleaned up and 
redressed in the 18thC.It even looks like panniers to me.

Marcus.

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Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Sun, 5 Jan 2003 14:38:09 -0800
Status: RO

Lynoure

You might want to check out a line by Promenade Patterns.  Harper House
carries them at http://www.longago.com/edward.html .  I have not seen the
picture you wish to recreate, as I cannot locate my book, but they have two
existing patterns for gowns from the teens and one may suit you, or may be
close enough to alter to your tastes.  There are also patterns from this era
at www.pastpatterns.com, but they are mostly day wear.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"So far as my coin would stretch; and where it would not
I have used my credit."
King Henry the Fourth; I, ii - W. Shakespeare


----- Original Message -----
From: "Ella Lynoure Rajamaki" <lynoure@tuug.fi>
To: <h-costume@indra.com>
Sent: Wednesday, January 01, 2003 3:51 AM
Subject: [h-cost] Hint for making 1913 evening dress


>
> I'm about to start making a dress that makes me very nervous, because it's
> from an era I'm not very familiar with and because it's going to be my
> wedding dress. It's going to be a copy of the dress on pages 377 to 380 of
> Costume in Detail 1730-1930, but I'm considering using light purple colour
> instead of light blue.
>
> Could somebody give me hints about dressmaking or pattern making of that
> era? E.g. does a "close enough" pattern already exist?
>
> --
> Lynoure Rajamaki
> lynoure@tuug.fi
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Sun, 5 Jan 2003 23:45:06 +0100
Status: RO

The nearest I've ever come to for an extent example is the one that was
used on the wax effigy of Elizabeth.However its made with cane in a
cotton form and was constructed when the statue was cleaned up and
redressed in the 18thC.It even looks like panniers to me.

Marcus.

Hi Marcus.
My theory about this is that there was a farthingale on the wax effigy who
had this shape, but when they remodelled it, they used a modern cut - a
panier.
Has any on the list ever seen this wax effigy?
I havent even seen a photo of it, only the panier.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Date: Sun, 5 Jan 2003 23:49:50 +0000
Status: RO


On Sunday, January 5, 2003, at 10:45  pm, Bjarne og Leif Drews wrote:

> My theory about this is that there was a farthingale on the wax effigy 
> who
> had this shape, but when they remodelled it, they used a modern cut - a
> panier.

Yep thats what I thought when I finally realised that I was looking at 
panniers and not a 'wheel farthingale'.Very vexing I must say.

> Has any on the list ever seen this wax effigy?

I can't remember where it was on site - Westminster,Bjarne or is my 
memory playing tricks?Wherever it is its no longer on display I don't 
think.The effigy featured in the series of pics that showed the cane 
panniers/farthingale was Queen Anne I believe.

> I havent even seen a photo of it, only the panier.

Me too.Still its intriguing.

Marcus.

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Date: Sun, 5 Jan 2003 15:00:17 -0800
Status: RO


> I have never heard anyone *in* the SCA express the believe that SCA 
> is a  living history group (in fact, I have no idea exactly how the SCA

> classifies itself).  However, non-members get that impression and say
things to 
> that effect.

As a medieval education and recreation group, more or less. The Feds
classify it as a non-profit education group.

Question re: coifs: my persona occaisionally does Ren Italian--I was
wondering it the Italian women wore coifs and if so, where I might find
pictures and patterns.

Thanks,
Arlys


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From h-costume-admin@indra.com  Sun Jan  5 18:21:35 2003
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Subject: Re: Effigy/Re: [h-cost] wheel farthingale
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Date: Sun, 5 Jan 2003 17:21:35 -0600
Status: RO

The effigy of Queen E is in Westminster Abbey. It isn't in the Abbey
proper but in a small building out in the Cloister area. As far as I
know, it's still on display, or it was about 3 years ago when I was
there. They sell a very nice book to go along with the exhibit (which has
pretty much all the remaining funeral effigies that the Abbey has, they
were nicknamed 'The Ragged Regiment' back in the Victorian era when many
of them were worse for wear.) It has many pictures of the various
effigies (Nicole, you need to see this as many of the effigies are from
people prominent at the end of the 17th and into the early 18th century
and many of the items of clothing were taken from their living wardrobes)
as well as shots taken during the last refurbishment so you can see the
underpinnings. Of course, I bought the book- it was quite reasonable as I
recall, about $10BPS. If folks are interested I could dig it out and scan
some of the images that folks would most like to see.

Karen



On Sun, 5 Jan 2003 23:49:50 +0000 marcus findlay-arthur
<mangal.kalima@virgin.net> writes:
> 
> On Sunday, January 5, 2003, at 10:45  pm, Bjarne og Leif Drews 
> wrote:
> 
> > My theory about this is that there was a farthingale on the wax 
> effigy 
> > who
> > had this shape, but when they remodelled it, they used a modern 
> cut - a
> > panier.
> 
> Yep thats what I thought when I finally realised that I was looking 
> at 
> panniers and not a 'wheel farthingale'.Very vexing I must say.
> 
> > Has any on the list ever seen this wax effigy?
> 
> I can't remember where it was on site - Westminster,Bjarne or is my 
> 
> memory playing tricks?Wherever it is its no longer on display I 
> don't 
> think.The effigy featured in the series of pics that showed the cane 
> 
> panniers/farthingale was Queen Anne I believe.
> 
> > I havent even seen a photo of it, only the panier.
> 
> Me too.Still its intriguing.
> 
> Marcus.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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From h-costume-admin@indra.com  Sun Jan  5 18:54:28 2003
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Subject: Re: [h-cost] off topic artistic veins
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Date: Sun, 5 Jan 2003 14:54:40 -0800
Status: RO

I have no idea where my abilities come from. My dad's side of the 
family is musical -- my father's mother taught Latin and piano -- but 
while most of our family antiques came from this grandmother, as far 
as I know she was more of a collector than a doer. There is one 
moderately well-known artist in the family -- Edward Laning, who was 
a painter in the '30s -- but he's a distant cousin at best.

My other grandmother did the usual domestic embroidery, knitting, 
crochet, etc. and so did my mom, but it was never a consuming passion 
:) The men in both families have been un-crafty things like doctors, 
administrators, scientists etc.

In fact, in my family it was always "understood" when I was growing 
up that if you were _really_ smart, you would do math and science -- 
if you weren't so smart, then you might do art or languages or 
history or something. It took me more than 45 years and an 
all-but-PhD (to tie in with another thread!) to realize that I didn't 
_want_ to be a scientist; in a different family I might well have 
grown up to be a historian, a linguist, or a professional writer.

So here I am doing writing, historical research, graphic design and 
needlework pretty much in a vacuum.... but perhaps my heritage 
explains why I seem to spend more time reading and writing about 
needlework than actually doing it.......!
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From h-costume-admin@indra.com  Sun Jan  5 19:38:28 2003
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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: [h-cost] Re: Medici exhibit in Chicago - exhibit catalog
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Date: Sun, 05 Jan 2003 19:38:53 -0500
Status: RO

On Sun, 5 Jan 2003 12:43:29 -0800, LEdge <ledesign@newsguy.com> responded 
to my inquiry:

>>Do you by any chance recall any of the bibliographic information on that
>>catalogue?... I'd be interested in seeing if my local discounter (which has a
>>vast collection of art books) might have a copy for sale...
>
>the catalog has not yet been published:
>http://www.amazon.com/exec/obidos/ASIN/0895581582/104-5941505-4546343

Apparently, my local discounter already has it, for 
$44.95:  http://www.strandbooks.com/profile/?isbn=0300094957&itemno=0

I'll have to walk around the corner at lunch time to see what their stock is...



Brenda
webwarren@earthlink.net


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From h-costume-admin@indra.com  Sun Jan  5 20:01:33 2003
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Subject: Re: [h-cost] Buying a sewing machine
From: Marsha Hamilton <mjh@pearlandplume.com>
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Date: Sun, 05 Jan 2003 19:59:28 -0500
Status: RO

> This message is in MIME format. Since your mail reader does not understand
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on 1/4/03 7:53 AM, AnnBWass@aol.com at AnnBWass@aol.com wrote:

In a message dated 1/4/2003 1:36:28 AM Eastern Standard Time,
audreybmorin2@hotmail.com writes:


Should I try to find a Singer retailer to
investigate them too? What about the White machines?


Definitely forget them.  Viking and Bernina are, I think, about equivalent
in quality.  I love my Bernina, but convenience for service is a factor.  A
friend has a Viking and loves it.  I think today's electronic machines are
very durable, so don't let that bother you.
Ann Wass 
--------------------
I have a 20 year old Singer Professional that is cast iron, weighs a ton,
and has a fly wheel connected to a motor under the table that could run a
lawn mower.  I've never had any trouble with it (knock wood) and it will sew
through anything, including many layers of heavy fabric as well as sheers.
It is a work-horse but has no fancy stitches.  It depends on what you need
the machine for.  I sometimes see used professional machines for sale.

Marsha 

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on 1/4/03 7:53 AM, AnnBWass@aol.com at AnnBWass@aol.com wrote:<BR>
<BR>
<BLOCKQUOTE><FONT SIZE=3D"2"><FONT FACE=3D"Arial">In a message dated 1/4/2003 1=
:36:28 AM Eastern Standard Time, audreybmorin2@hotmail.com writes:<BR>
<BR>
<BR>
</FONT></FONT><BLOCKQUOTE><FONT SIZE=3D"2"><FONT FACE=3D"Arial">Should I try to=
 find a Singer retailer to<BR>
investigate them too? What about the White machines? <BR>
</FONT></FONT></BLOCKQUOTE><FONT SIZE=3D"2"><FONT FACE=3D"Arial"><BR>
<BR>
Definitely forget them. &nbsp;Viking and Bernina are, I think, about equiva=
lent in quality. &nbsp;I love my Bernina, but convenience for service is a f=
actor. &nbsp;A friend has a Viking and loves it. &nbsp;I think today's elect=
ronic machines are very durable, so don't let that bother you.<BR>
Ann Wass</FONT></FONT> <BR>
</BLOCKQUOTE>--------------------<BR>
I have a 20 year old Singer Professional that is cast iron, weighs a ton, a=
nd has a fly wheel connected to a motor under the table that could run a law=
n mower. &nbsp;I've never had any trouble with it (knock wood) and it will s=
ew through anything, including many layers of heavy fabric as well as sheers=
. &nbsp;It is a work-horse but has no fancy stitches. &nbsp;It depends on wh=
at you need the machine for. &nbsp;I sometimes see used professional machine=
s for sale. &nbsp;<BR>
<BR>
Marsha
</BODY>
</HTML>


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Subject: Re: [h-cost] authenticity
From: Marsha Hamilton <mjh@pearlandplume.com>
To: <h-costume@indra.com>, Marsha Hamilton <mjh@pearlandplume.com>
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Date: Sun, 05 Jan 2003 20:23:03 -0500
Status: RO

on 1/4/03 3:21 AM, Ella Lynoure Rajamaki at lynoure@tuug.fi wrote:

> On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:
> 
>> Shoot, when I was in school, we were not *allowed* to wear trousers
>> of any sort to school, no matter what the weather. (And it was *very*
>> cold...So, while a
>> modern person would say that it couldn't be that girls in the 1950s
>> and 60s wouldn't wear trousers in cold weather, I can assure you that
>> we didn't. (If we tried, we got expelled from school.)
-----------
> Skirts can be plenty warm and nice in very cold weather. It has been
> between -20 and -28 Celsius here this week, and I have still worn skirts....
------------
This thread is interesting because it has come up before.  I think people in
looking back historically exhibit the prejudice that people do things for
rational reasons.  Whether its pockets or warmth.  I don't think that's
true.  

For example, on the skirt/trouser issue in the 1950s...
I can't count the number of times I stood out in sub-zero weather in deep
snow freezing to death waiting for the school bus to come.  Dressed in my
1950's knee length skirts, car-coat length winter coat, sock or nylons, and
ankle height slip on boots.  My frozen legs were totally exposed, the snow
always fell over my boot tops and got my feet miserably wet.  But that is
what I wore every winter.

Not because it was smart or warm but because that was the only style of
clothing available and acceptable--both by peers and the school system.
It's silly but there's no reason to believe people in other historic periods
were any smarter.  We know the clothes we folks (of a certain age ;-) wore
were uncomfortable, unsuited to the situation, etc.

We should collect examples of all the idiotically unsuitable things we've
worn over the years!  It will give costume historians of the future a good
laugh.  

Marsha



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Subject: Re: [h-cost] authenticity/idiotically unsuitable 
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Date: Sun, 5 Jan 2003 18:14:18 -0800
Status: RO

>From the Brigham Young University files 1980

The school had a rule that women could not wear jean to class.  Snows in
Utah in the winter,  very cold.  A young woman wore jeans to class on the
day of her final and was not permitted access to the examination room, so
she went to the ladies room, removed her pants and sat the exam in her
trench coat and panties.

Story hit the national papers too.  Shortly thereafter the rule changed.

Lisa


----- Original Message -----
From: "Marsha Hamilton" <mjh@pearlandplume.com>
To: <h-costume@indra.com>; "Marsha Hamilton" <mjh@pearlandplume.com>
Sent: Sunday, January 05, 2003 5:23 PM
Subject: Re: [h-cost] authenticity


>
> We should collect examples of all the idiotically unsuitable things we've
> worn over the years!  It will give costume historians of the future a good
> laugh.
>
> Marsha
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sun, 05 Jan 2003 18:30:21 -0800
Status: RO

I agree.  You are talking about the 1950's, but my daughter, who goes to a 
Catholic girls school has to wear a plaid skirt, white shirt and school 
sweatshirt or jacket.  It snowed twice in Sacramento last year and those 
girls were out there in their little skirts that are way above their 
knees.  The only explanation that the administration will give for the 
restrictive dress code is that they know what those girls from St Francis 
do with their pants.  I have asked lots of St Francis students what they do 
with their pants and they can't give me an answer.  It makes no sense, but 
there you have it.

I also have been using some commercial patterns for Elizabethan dresses, 
which I rarely do, but I lost my pattern.  The use darts and have no 
gathers at the waist.  As you said, with our modern sensibilities, those 
things seem completely intuitive.  They wouldn't have 500 years ago.  maryann

At 08:23 PM 1/5/2003 -0500, you wrote:
>on 1/4/03 3:21 AM, Ella Lynoure Rajamaki at lynoure@tuug.fi wrote:
>
> > On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:
> >
> >> Shoot, when I was in school, we were not *allowed* to wear trousers
> >> of any sort to school, no matter what the weather. (And it was *very*
> >> cold...So, while a
> >> modern person would say that it couldn't be that girls in the 1950s
> >> and 60s wouldn't wear trousers in cold weather, I can assure you that
> >> we didn't. (If we tried, we got expelled from school.)
>-----------
> > Skirts can be plenty warm and nice in very cold weather. It has been
> > between -20 and -28 Celsius here this week, and I have still worn 
> skirts....
>------------
>This thread is interesting because it has come up before.  I think people in
>looking back historically exhibit the prejudice that people do things for
>rational reasons.  Whether its pockets or warmth.  I don't think that's
>true.
>
>For example, on the skirt/trouser issue in the 1950s...
>I can't count the number of times I stood out in sub-zero weather in deep
>snow freezing to death waiting for the school bus to come.  Dressed in my
>1950's knee length skirts, car-coat length winter coat, sock or nylons, and
>ankle height slip on boots.  My frozen legs were totally exposed, the snow
>always fell over my boot tops and got my feet miserably wet.  But that is
>what I wore every winter.
>
>Not because it was smart or warm but because that was the only style of
>clothing available and acceptable--both by peers and the school system.
>It's silly but there's no reason to believe people in other historic periods
>were any smarter.  We know the clothes we folks (of a certain age ;-) wore
>were uncomfortable, unsuited to the situation, etc.
>
>We should collect examples of all the idiotically unsuitable things we've
>worn over the years!  It will give costume historians of the future a good
>laugh.
>
>Marsha
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sun, 05 Jan 2003 19:36:46 -0700
Status: RO

Just this school year (last fall), the high school I attended,
mumblety-mumble years ago, actually *expelled* one of their students for
having her hair in dreadlocks.
Yes, it was a small town....
--sue, who remembers having to take off her snowpants when she got to
school, too, although by the time she was in jr. high, we could finally
wear jeans and pants.

Lisa Sinervo wrote:
> 
> >From the Brigham Young University files 1980
> 
> The school had a rule that women could not wear jean to class.  Snows in
> Utah in the winter,  very cold.  A young woman wore jeans to class on the
> day of her final and was not permitted access to the examination room, so
> she went to the ladies room, removed her pants and sat the exam in her
> trench coat and panties.
> 
> Story hit the national papers too.  Shortly thereafter the rule changed.
> 
> Lisa
> 
> ----- Original Message -----
> From: "Marsha Hamilton" <mjh@pearlandplume.com>
> To: <h-costume@indra.com>; "Marsha Hamilton" <mjh@pearlandplume.com>
> Sent: Sunday, January 05, 2003 5:23 PM
> Subject: Re: [h-cost] authenticity
> 
> >
> > We should collect examples of all the idiotically unsuitable things we've
> > worn over the years!  It will give costume historians of the future a good
> > laugh.
> >
> > Marsha
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] authenticity
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Date: Sun, 5 Jan 2003 20:52:56 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003, MaryAnn Jones wrote:

> I also have been using some commercial patterns for Elizabethan
> dresses, which I rarely do, but I lost my pattern.  The use darts and
> have no gathers at the waist.  As you said, with our modern
> sensibilities, those things seem completely intuitive.  They wouldn't
> have 500 years ago.  maryann

When I was very new to this, I remember once someone insisting to me that
side bust darts were an essential and logical approach for shaping around
the bust on a 14th-century fitted dress -- "because the fabric just folds
that way naturally, and they would have seen that happen because it always
happens." In working out my own construction, I found that if you change
the sequence of construction steps, shift the bust to a non-modern
position, and use a flexible wool or linen, you don't get the
characteristic "dart fold," and probably couldn't make one if you tried.  
What seems obvious in a modern approach may not work the same when you
apply a period technique and period materials.

--Robin


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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 22:21:40 -0500
Status: RO

In this discussion of wheelfarthingale, is there some confusion between wire
crinolines and farthingales?  The photo being discussed is certainly from
the 19th Century, and has all the aspects of a crinoline (hoop) and not the
skirt distenders known from earlier periods.  Also, the fact that it is a
photograph should have some explanation. re the date.  Admitted, it is an
exaggeration and like the cartoons of the era, was probably intended as a
joke...which has already been mentioned. If the diameter is about 6', the
yardage around the bottom would be somewhat over 5+ yards.  Since skirts of
this period are often quoted at more than 5-6 yards, especially ball gowns,
the exaggeration isn't really that far out...from my vantage point.
Kathleen
----- Original Message -----
From: "marcus findlay-arthur" <marcus.cuttingtable@virgin.net>
To: <h-costume@indra.com>
Sent: Sunday, January 05, 2003 4:56 PM
Subject: Re: [h-cost] WHEELFARTHINGALE!!!


>
> On Sunday, January 5, 2003, at 08:47  pm, Robin Netherton wrote:
>
> >
> > On Sun, 5 Jan 2003, Bjarne og Leif Drews wrote:
> >
> >> The way i read this is that she has a farthingale wich is 4 feet in
> >> the hips. Then i am unsertan if they used the word farthingales for
> >> the bum rolls. My point is that it is a wheel shaped farthingale 3
> >> feet in the hips.
> >
> > Yes, definitely, I read it also as referring to the skirt shape that
> > people today call the "wheel farthingale," meaning the type that makes
> > the
> > skirt look as though it's sticking out from the waist in a circular
> > shape.
> > The time period is right for that, too. But I don't get anything from
> > the
> > quote that tells us the nature of the structure that's holding up the
> > skirts.
>
> Probably the most accurate and authentic 'reading' as to scale.
> >
> >  "Wheel farthingale" was not a period term; it was invented by
> > later historians as a description of the visual shape seen in the
> > portraits from around the early 1600s. Later writers have also called
> > it a
> > "cartwheel farthingale," "Catherine-wheel farthingale," and "drum
> > farthingale," all apparently based on the appearance of the shape in
> > portraits.
>
> Correct.
>
> >  I haven't yet found a recorded use of any of these terms that
> > dates to the time in which this shape was worn. (If someone has such a
> > reference, let me know!)
>
> I've been looking for 30 years and have not found documentable reference
> anywhere.
> >
> > So we know that whatever-it-was they were wearing, the people who were
> > wearing it called it the French farthingale. The question, then, is what
> > the "French farthingale" itself was made of. Modern scholars have
> > assumed
> > it was a boned structure (as pictured in Hunnisett and others),
> > perhaps a
> > circle of sturdy cloth held in shape with concentric circles of
> > whalebone
> > (or metal or another material), with or without a hooped skirt hanging
> > down. When I tried to track this idea back to the sources from the
> > period,
> > though, I found that the trail dead-ended in the late 1700s, with the
> > suppositions of the costume historians at the time, who were steeped in
> > the personal knowledge of 1700s styles (panniers and other wire
> > frameworks). References from the early 1600s are more consistent with
> > the
> > idea that it was a structured bolster. There is no period reference, of
> > those I've seen, that definitively requires interpretation as a
> > wheel-frame, but there are many references that do require
> > interpretation
> > as a stuffed roll (including some dictionary definitions).
>
> The nearest I've ever come to for an extent example is the one that was
> used on the wax effigy of Elizabeth.However its made with cane in a
> cotton form and was constructed when the statue was cleaned up and
> redressed in the 18thC.It even looks like panniers to me.
>
> Marcus.
>
> _______________________________________________
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Date: Sun, 05 Jan 2003 19:23:39 -0800
Status: RO

> We should collect examples of all the idiotically unsuitable things
> we've worn over the years!  It will give costume historians of the
> future a good laugh.  

Ooo, you mean like 3 piece suits (jacket, vest and pants, with shirt 
and undershirt) worn by men in unairconditioned business offices in 
the 1950s and before? 

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 19:23:39 -0800
Status: RO


> I joined the SCA in 1971, and I was not aware that the SCA considered
> itself a living history group.  I get my living history elsewhere.

It shows up along with Williamsburg, Plimoth, ACL groups and the like 
in the books devoted to Living History. Although there is a lot of 
fringe population in the SCA who prefer to play rather than study, it 
is chartered through the IRS as a non-profit educational group with 
their articles of incorporation stating: 
The purposes for which this corporation is formed include:
(a) Research and education in the field of pre-17th-Century Western 
Culture.
(b) Generally, to engage in research; publish material of relevance 
and interest to the field of pre-17th- Century Western Culture; to 
present activities and events which re-create the environment of said 
era, such as, but not limited to, tournaments, jousts, fairs, dances, 
classes, et cetera; to acquire authentic or reproduced replicas of 
chattels representative of said era; and to collect a library.

So, in spite of the people uninterested in the stated reason for the 
SCA, there are people like myself, Drea and others who do the 
research in this way. By definition it is a "living history" group.

The parts I find most difficult to reconcile is the tolerance for the 
post 1600 Western Europe and all the Oriental and Central American 
personas which are tolerated. However, it is set up as an inclusive 
group (with the hope that people will "grow" into the Western Culture 
part) rather than an exclusive group where you just about have to be 
perfect before you can play at all.

For many of us, the SCA has given us a venue where we can do the 
costume and costume research, and have a place to wear it and 
teach/learn about it, rather than sitting home without a social 
occasion to wear it. (Shoot, I often wish that there was a group 
dedicated to the 18th C near me so that I have a chance other than 
Costume Con to pull out my 1755 French Watteau back sack dress. But 
then, I've got enough to do without adding a group which would spur 
me to make more of those dresses.)

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 19:23:40 -0800
Status: RO


> > It varies by vegetable fibre (such as linen, ramie, hemp, nettle)
> > because plants have their own "direction of spin", but the wool can
> > be spun either direction. 
> 
> Hmm.  I wonder if there is a preferred direction of spin for wool
> anyway, though.  Was the direction of spin for wool chosen to obtain
> particular effects, or was it primarily a cultural thing?

There is apparently no preferred spin direction for animal fibres 
such as wool or silk. Although it was sometimes spun for specific 
things like better mat production in fulling of wool and sometimes 
for special effects (such as the non-colored piece with stripes of S-
spun and Z-spun threads in Margrethe Hald's Danish bog book, which in 
black and white *looks* like it has "colored" stripes), apparently 
the predominant vegetable fibre determined which spin was predominant 
for both wool and the vegetable fibre. 

There are some interesting documents discussing Egyptian wool 
compared to some of the wools from a different culture and how badly 
done they were. Originally it was thought that it was because Egypt 
(which used predominantly linen vegetable fibre) spun their threads 
in the opposite direction of the areas (who used more hemp fibres) 
and had prettier wool fabrics. They had noticed that the spin of the 
Egyptian threads were done in the opposite direction. However, later 
it was found that the culprit in the "bad wool" was not the way it 
was spun, but in the poorer quality of the wool in Egypt itself 
(which had coarser, more brittle, kinkier fibres than other areas.)
 
> Thanks, as always, for the information.  I can barely make a
> tablet-woven belt myself, and I have never attempted to weave fabric. 
> So I have a hard time following discussions of spin and weave myself
> (though I find them fascinating).

Well, if you ever want to try it, look around for a weaving store 
which has classes. They frequently will have looms for in-store rent 
for class use. Or find a friend with a loom (which is what I did.) It 
can be really fun, although it is a royal pain in the tuckus to set 
up the warp for it. It's one of the primary reasons why I never went 
in for getting my own loom. Setting up for an inkle loom or a 
cardweaving project is enough of a pain for me. ;)

And you can also get books on weaving. There are several good ones 
out there which talk about different loom types, how to set them up 
and what you can do on them. (I have more than 30 books on the 
subject of various looms and weaving patterns.) Also, there are many 
books (such as Agnes Geijer's History of Textiles and Margrethe 
Hald's Danish bog book) which are better at explaining this sort of 
stuff than I can be because they have pictures and drawings which 
make understanding this stuff much easier and relate it to the 
textiles themselves in an historic way (rather than as a "here is how 
you set up a loom to make modern handwovens for selling at craft 
fairs or boutiques.")

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 19:23:40 -0800
Status: RO

Sue wrote:
> What about silk, though?
> --sue
> 
> kat@grendal.rain.com wrote:
> > 
> > Cathy wrote:
> > > I thought that it varied by fiber, with wool more likely to be
> > > S-spun, flax (linen) to be Z-spun.
> > 
> > It varies by vegetable fibre (such as linen, ramie, hemp, nettle)
> > because plants have their own "direction of spin", but the wool can
> > be spun either direction. (With the most common direction varying
> > based on factors like the introduction of new technology such as the
> > wheel and what the predominant vegetable fibre is for that area.)

Silk does not have a preferred spin direction. In fact, because of 
the long length of the individual fibres (compared to vegetable 
fibres or wool), it can be used without any spinning at all. (It's an 
animal fibre. Animal fibres, except in cases where there is some 
weird genetic fluke, does not have a preferred spin direction.

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 19:23:37 -0800
Status: RO

> Indeed and very few survive that show a bare bosom.
> As I understand the trend,a bare bosom indicated the maidenhood of the
> young woman and her virginity.17thC doxies on the other hand are
> reputed to have encarmined their nipples with cochenial to entice
> customers.Our ancestors were a very hearty bunch back then,clearly
> indicated by some of the more lurid ditties and plays that survive
> intact.

I don't know about the virginity part. The intact woodcut I've seen 
was of a woman serving dinner to her husband and the minister. 
Married women generally are no longer considered maidens or virgins.

However, you are right about our ancestors being a hearty bunch!

Kat Russell
<kat@grendal.rain.com>

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Date: Sun, 05 Jan 2003 19:38:01 -0800
Status: RO

Lisa wrote:
> From the Brigham Young University files 1980
> 
> The school had a rule that women could not wear jean to class.  Snows
> in Utah in the winter,  very cold.  A young woman wore jeans to class
> on the day of her final and was not permitted access to the
> examination room, so she went to the ladies room, removed her pants
> and sat the exam in her trench coat and panties.
> 
> Story hit the national papers too.  Shortly thereafter the rule
> changed.

That wouldn't have flown in the schools I went to as there was also a 
rule about skirt length. She would still have been at the very least 
sent home from school, or if it were a repeat, expelled for wearing 
inappropriate clothing. When kneeling the skirt could be no more than 
2" from the floor. 

Of course, about 2 years later we were wearing skirts so short that 
one of my dresses, called a babydoll dress, had its own set of 
bloomers to wear underneath. I still have the dress. We also wore 
dresses that short *without* the bloomers and we didn't have panty 
hose for another year or so. Thigh high nylons with garter belts or 
girdles. Boy, did that look weird with those short shirts! Oddly 
enough, we'd had "tights" since I had been small. I've never figured 
out why something as "intuitive" as nylon pantyhose weren't used even 
though we did have "tights". But that's in hindsight. (Same as the 
use of sanitary pads with a strip of adhesive we can't imagine living 
without instead of a garter belt to hold the pad in place. Who needed 
underwear before we had the adhesive pads?)

But then, even with the ultra-short skirts we still couldn't wear any 
sort of trousers. (My senior year of school was the first time I had 
ever been allowed to wear trousers to school. But that was for one 
day only: senior slacks day. No jeans allowed. But then, the boys 
weren't allowed to wear jeans to school either.)

Kat Russell
<kat@grendal.rain.com>

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From: Katy Bishop <vintage@shore.net>
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Sun, 5 Jan 2003 23:03:25 -0500 (EST)
Status: RO


I love my Vikings, had them for 20 years, and I work them hard.  My
mother, also a professional seamstress, does alterations nowadays,
swears by her Elna's.  Got a new one 2-3 years ago and loves it, giving
20 year old maching to my niece.  She works her machines hard, altering
wedding dresses mostly.

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: Sun, 05 Jan 2003 23:28:15 -0500
Status: RO

Heather,
There is also a bio of the House of Worth called
"A Century of Fashion" by Charles Fredericks' son,
Jean-PhilippeWorth, published in 1928 by Little Brown & Co.

Plus, I would check fashion magazines from that year & maybe 1-2 years
preceding & following. That's not my era, so I'm not sure of
but I think "Harper's Bazar" (sp) was out, & of course "Godey's"
& "Petersons" were definitely out.
~Deb R.

> Did a quick search & here's what I came up with for Worth:
>
> The age of Worth: Couturier to the Empress Eugénie.
> Edith Saunders
>
> Worth : father of haute couture /
> Diana De Marly
>
> The Opulent Era : Fashions of Worth, Doucet and Pingat /
> Elizabeth A Coleman
> (This one will make you drool on the pages!)
>
> The House of Worth fashion designs : a photographic record.
> Victoria and Albert Museum.

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Date: Sun, 5 Jan 2003 22:36:00 -0600
Status: RO

Just to confirm - yep that's the book!

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

There's no such thing as too many books!

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

----- Original Message -----
>
> Apparently, my local discounter already has it, for
> $44.95:  http://www.strandbooks.com/profile/?isbn=0300094957&itemno=0
>
> I'll have to walk around the corner at lunch time to see what their stock
is...
>
>
>
> Brenda
> webwarren@earthlink.net
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Sun, 5 Jan 2003 21:00:03 -0800
Status: RO


I wrote:
> > From the Brigham Young University files 1980
> >
> > The school had a rule that women could not wear jean to class.  Snows
> > in Utah in the winter,  very cold.  A young woman wore jeans to class
> > on the day of her final and was not permitted access to the
> > examination room, so she went to the ladies room, removed her pants
> > and sat the exam in her trench coat and panties.
> >
> > Story hit the national papers too.  Shortly thereafter the rule
> > changed.

Kat wrote:
> That wouldn't have flown in the schools I went to as there was also a
> rule about skirt length.

At BYU (a mormon university) women could wear pants, but not jean as they
did not want to encourage the behaviour that women who wear jeans exhibit.
Their explaination, not mine.   But a woman wearing a trench coat and
panties was too sexually provocative. I mean, they couldn't have a rule that
skirts had to be worn under trench coats and have university standards check
up on adherence.  The press would have had a field day.   Plus I think they
realized that jeans were an everyday item and not a symbol of rebellion by
that time.

It is funny to me how institutions today can be about rules that
specifically involve the exhibition of legs. Some places insist that women
show their legs, no pants allowed, an example workplaces like hotels with
uniformed positions. Yet a Muslim culture would often insist a woman wear
pants to avoid showing them.  And what about a professional workplace that
permits men to be formally dressed with any leg exposed?  Not in the US.
Shorts are only for casual wear.  I think breeches for men should come back
in style!  That would be loads of fun!!!

Lisa


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Sun, 5 Jan 2003 23:09:16 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003, Lloyd Mitchell wrote:

> In this discussion of wheelfarthingale, is there some confusion
> between wire crinolines and farthingales?  The photo being discussed
> is certainly from the 19th Century, and has all the aspects of a
> crinoline (hoop) and not the skirt distenders known from earlier
> periods.

The original post on this thread presented a quotation from 1617 regarding
a farthingale of a particular size. One of the followups to that post
presented the much later crinoline photograph as an example of another
skirt structure, from a different period, for purposes of size comparison.
I hope no one mistook this as a statement that the crinoline is the same
as a farthingale.  They are two very different beasts.

But in general, this is an area of some confusion.  Costume historians of
the 18th and 19th centuries tended to assume that the c. 1600 farthingale
was built using similar methods to the skirt extenders of their own
periods. This has, in my view, contributed to an erroneous view today that
the farthingales of c. 1600 were wired or boned frameworks like panniers
or crinolines. The evidence from the farthingale period itself does not
support this commonly held view.

--Robin


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Date: Sun, 05 Jan 2003 22:19:46 -0700
Status: RO

oooh! One of those "seems intuitive" things? <weg>
--sue

Robin Netherton wrote:
> 
> On Sun, 5 Jan 2003, MaryAnn Jones wrote:
> 
> > I also have been using some commercial patterns for Elizabethan
> > dresses, which I rarely do, but I lost my pattern.  The use darts and
> > have no gathers at the waist.  As you said, with our modern
> > sensibilities, those things seem completely intuitive.  They wouldn't
> > have 500 years ago.  maryann
> 
> When I was very new to this, I remember once someone insisting to me that
> side bust darts were an essential and logical approach for shaping around
> the bust on a 14th-century fitted dress -- "because the fabric just folds
> that way naturally, and they would have seen that happen because it always
> happens." In working out my own construction, I found that if you change
> the sequence of construction steps, shift the bust to a non-modern
> position, and use a flexible wool or linen, you don't get the
> characteristic "dart fold," and probably couldn't make one if you tried.
> What seems obvious in a modern approach may not work the same when you
> apply a period technique and period materials.
> 
> --Robin
> 
> _______________________________________________
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Date: Mon, 6 Jan 2003 18:28:53 +1300
Status: RO

Kat:
> Now I'm getting myself confused. According to the MOL books, most
> early wheel spun is done S. Certainly the pieces of modern woolens
> seem to be S-spun. However, other books seem to say that Z-spun is
> more common.

Hald seems to use the direction of spin as one factor to help date early 
textiles, but that's because they tend to be consistent within a time 
and place, not becuse they were always one way before a given and 
always another way afterwards.


> > Kat, could you clarify whether you mean that medieval spinning on
> > the great wheel was S-spun?
>
> From what I've read, clockwise spun. While they could be done in the
> opposite spin, there was apparently a tendency to spin only
> clockwise.

Sounds fascinating, and you've got me wondering about whether there's a 
twist in the drive-band of medieval spinning wheels, since clockwise on 
the driving wheel will spin S only if there's a twist in the driveband 
between the driving wheel and the spindle (i.e. the driveband's a 
figure-eight rather than a circle). I pulled out my "Medieval rural 
life in the Luttrell Psalter" and, despite some rather cubist 
perspective, there's the twist in the driveband. If the Luttrell drive 
wheel was spun clockwise it looks like it would turn the spindle 
anti-clockwise which would indeed produce S-spun. I'm still figuring 
out the position of the spinster, however, since she seems to be either 
beating the wheel anti-clockwise or stopping the wheel at her maximum 
draw, and I would have expected her to be able to go straight from 
spinning to winding on by angling the thread without stopping the 
wheel.

Have we got off the topic of historical costume yet? :-)


> Even with modern wheels, many are set up to be used for spinning in
> only one direction. It's awkward to use it in the opposite direction
> or the mechanism doesn't work quite right (depending on the type.)

Maybe this is a matter of what you're used to. Both my original Little 
Peggy upright and my current Ashford Traditional spin equally well in 
either direction with a flick or two of the foot (the new double 
treadle and polymer driveband make control even easier: have you ever 
noticed how spinners can sound a lot like car enthusiasts when talking 
about hotting up spinning-wheels?). I rather suspect that the members 
of the Spinners and Weavers Guild I learned with would have had little 
time for a temperamental wheel: they were primarily interested in 
spinning for knitting, knitting wool is almost always plied, and to 
spin and ply on the same wheel the wheel must be able to spin both S 
and Z. If it doesn't, send it back.


> >In the woven cloths you're describing, are all
> > the threads singles, or is there a plied warp and a singles weft?
>
> From Geijer to Hald to the MOL books, I can't find any mention of
> plied warps in the threads they've examined from the medieval period.
> (Not to say plied threads were never used, but they talk about S-
> spin/Z-spun threads not S-plied/Z-plied threads. If I've missed it,
> please tell me the page numbers where it is found.)

No, I think that's right. I was just wondering about uses for plied 
yarns, and building up to a detour on tablet weaving.


> > Modern spinning-wheel spinning can be either S-spun or Z-spun. It
> > depends entirely on the direction the spinner starts the wheel
> > turning, and can be a trap for new spinners if they forget and
> > change direction after a break. The Luttrell Psalter spinning wheel
> > looks like it could be used in either direction as well, depending
> > on whethere the spinster turned the wheel clockwise or
> > anti-clockwise. Modern commercial spinning is another matter
> > entirely, I was just surprised to see the comment about
> > wheel-spinning.
>
> It really depends on your wheel. Some are only done from the R side
> turning clockwise. Some are set up done from the L side, but still
> clockwise. Some work doing clockwise or counterclockwise depending on
> how you set up the fly. (Spindles are much easier in some ways. You
> can do it either way depending on your mood at the moment you begin
> the spinning.)

This is one of the reasons I'm getting curious about the cubist 
perspective on the Luttrell Psalter wheel. It _looks_ as though the 
spindle is sticking out away from the drive wheel, rather than 
perpendicular to it like a modern wheel once you get past all the 
modern flier frou-frou. This would make a wheel that could be spun from 
either side, so that you could get S and Z and still keep your 
quasi-ritual clockwise turning of the wheel. However, the position of 
the thread and the spinster would be very awkward if that's what's 
going on. Must drag out some more examples from later times and see if 
there are any more hints about the drive trains of early spinning 
wheels.

Yes, spindles have a lot going for them, including being reasonably easy 
to reproduce in a form you can use in-game, and the extra productivity 
that comes with mobility when you're not willing to be tied to your 
wheel throughout an event.


> It's interesting because it looks like many areas have conventions
> depending on the type of bast fibre they started spinning with
> spindles. If you spin linen the way you would hemp, it goes "against
> the grain" of the fibre. With wool it can be spun either way, but the
> conventions usually follow the predominant bast type.

Sounds reasonable, and rings a distant bell. Do you have any sources I 
could track down? 


> She also discusses how the twist of the fibre can make a pattern
> which is nearly as obvious to the eye as using dyed threads.
> Beautiful stuff (even if it is just fragments. I always imagine what
> it is that the garment or item it came from looked like.)

I must say that this took my fancy the first time I heard about it. It's 
not something I expect ever to be able to buy through commercial 
sources, so unless some keen and skilled spinners and weavers have a go 
it's not going to happen.


> > If you want to be really nit-picky, you can take some advice
> > Carolyn Priest-Dorman gave me a decade ago and use the direction of
> > spin to make continuous-twist tablet-weaving more even. The twist
> > of the tablets during weaving is itself a form of plying, so by
> > matching the twist of the threads to the twist of the cards you'll
> > avoid having some cards that produce puffy (balanced twist) weaving
> > while others produce tight (over-twist) weaving.
>
> Yep. But getting commercially spun threads of the opposite spin is a
> pain. ;) (I guess this is a time when you have to spin your own or
> pay someone to spin it for you.)

That's the one. And it's not even a hugely arduous amount of spinning, 
so it might even be worth it. :-)


> > I have no problem with the idea of purchasing appropriate cloth for
> > costuming. I do think it's difficult -- sometimes not possible --
> > to find commercial cloths that match some historical types of
> > cloths, and that's where you get to the question of how a
> > low-thread-count handwoven broken-lozenge twill stacks up against a
> > plain commercial twill. Part of it's about the finished products,
> > but part of it's also a strategic choice about encouraging early
> > attempts if the attempter is the sort of person who might go on to
> > produce really good stuff down the line. A lot of it is about
> > education: rediscovering and transmitting knowledge which would
> > have been passed on in a lengthy and comprehensive apprenticeship.
> > It's a long-term issue for many living history groups.
>
> Exactly. And it also depends on how much you want to do the other
> things. For example, I like to handsew, I like pattern making and I
> like to research. I've tried spinning, weaving, etc (and I've done a
> lot of dyeing), but I'd much rather actually make a garment than put
> my effort into making the fabric to make the garment. Also, I figure
> that I'd be using bought, finished fabrics anyway, not producing them
> myself. (Not a subsistence kind of gal.)

Fair enough. I must say that fabric-weaving is not my favourite thing 
and doesn't generally pass the cost-benefit analysis for me. But using 
only what is available to us through modern commercial sources skews 
our recreation towards what is normal now, eliminating some types of 
gear that were reasonably common then. For most of us this is a 
compromise we accept for practical reasons, but if people are willing 
to broaden our range of recreation by reproducing historical items and 
techniques that are not readily available in the modern world, more 
power to them.

Cheers,
  Jennifer

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] authenticity/idiotically unsuitable 
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Date: Sun, 5 Jan 2003 23:50:53 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003 kat@grendal.rain.com wrote:

> Oddly enough, we'd had "tights" since I had been small. I've never
> figured out why something as "intuitive" as nylon pantyhose weren't
> used even though we did have "tights". But that's in hindsight.

Of course, if we'd had pantyhose first, we might have then switched to
single stockings for the benefit of not having to throw out the pair when
we ran one leg. The real killer app here was thigh-highs with elastic tops
that remove the need for the garters.

I remember Ann Landers "settling" an argument about whether one should
wear underwear with pantyhose by saying that the name pantyhose itself
implied that the panties were included, so no other underwear was needed.
That was back when the top part of the pantyhose really looked like a
panty. This soon gave way to the version that was essentially transparent
nylon all over, requiring panties if you wanted any coverage, but these
had a "cotton crotch" that suggested that panties were not expected to be
worn.

> (Same as the use of sanitary pads with a strip of adhesive we can't
> imagine living without instead of a garter belt to hold the pad in
> place. Who needed underwear before we had the adhesive pads?)

And for many years after the adhesive pads were standard, bathroom
machines still sold the garter-belt version ... with the usual two safety
pins in the box to hold them in the panties.

I would kill for equivalent practical tidbits from 500 years ago. I can
imagine medieval women sharing tips on the most convenient ways to arrange
underlayers. (Or am I just assuming they would, because we do? That
"modern intuition" issue again...)

--Robin

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Subject: Re: [h-cost] authenticity/idiotically unsuitable
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Date: Sun, 5 Jan 2003 21:23:24 -0800
Status: RO

On Sun, 5 Jan 2003 18:14:18 -0800 "Lisa Sinervo"
<lisa-list@threadneedlest.com> writes:
> From the Brigham Young University files 1980
> 
> The school had a rule that women could not wear jean to class.  
> Snows in
> Utah in the winter,  very cold.  A young woman wore jeans to class 
> on the
> day of her final and was not permitted access to the examination 
> room, so
> she went to the ladies room, removed her pants and sat the exam in 
> her
> trench coat and panties.
> 
> Story hit the national papers too.  Shortly thereafter the rule 
> changed.

Actually, the rule changed the next year to allow pants (but not jeans)
and jeans weren't allowed for a couple of more years.  :-)

LuAnn who was there too...
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From: "chiara" <chiara@io.com>
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Date: Sun, 5 Jan 2003 23:57:16 -0600
Status: RO

I remember a few years ago the thread on this part was started and then
closed due to the gross nature the thread turned to. Then someone posted a
new list being created to discuss that one aspect of feminine hygiene. I
will look through the archives I have to see what that list address was and
you can probably find the archive to it with some of the answers you are
seeking. :)

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Sunday, January 05, 2003 11:50 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


 snip
________________________________________
>
> I would kill for equivalent practical tidbits from 500 years ago. I can
> imagine medieval women sharing tips on the most convenient ways to arrange
> underlayers. (Or am I just assuming they would, because we do? That
> "modern intuition" issue again...)
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-admin@indra.com  Mon Jan  6 01:09:29 2003
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] authenticity/idiotically unsuitable 
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Date: Mon, 6 Jan 2003 00:21:51 -0600 (CST)
Status: RO


On Sun, 5 Jan 2003, chiara wrote:

> I remember a few years ago the thread on this part was started and
> then closed due to the gross nature the thread turned to. Then someone
> posted a new list being created to discuss that one aspect of feminine
> hygiene. I will look through the archives I have to see what that list
> address was and you can probably find the archive to it with some of
> the answers you are seeking. :)

Well, when I said "convenient ways to arrange underlayers," I was thinking
not just about menstrual cloths and other hygiene mechanics, but rather
the more general issues equivalent to the "do you wear panties with
pantyhose" issue. E.g. tricks for keeping your chemise neckline in proper
alignment with your gown neckline, or for keeping your scarf or partlet
tucked, or preventing various layers from riding up or twisting around. Or
ways of gartering your hosen, or of tucking away the end of your lacing so
it wouldn't get tangled, or keeping headgear in place, and so on.

I remember all sorts of tricks we had for keeping our clothes in place
even in this era of supposedly more practical clothing. My college
roommate would tuck her blouses into her bikini panties so the shirt hems
wouldn't slide up and possibly out of the waistband of her hip-hugger
jeans.


> ----- Original Message -----
> From: "Robin Netherton" <robin@shell.nightowl.net>
> To: <h-costume@indra.com>
> Sent: Sunday, January 05, 2003 11:50 PM
> Subject: Re: [h-cost] authenticity/idiotically unsuitable
> 
> 
>  snip
> > I would kill for equivalent practical tidbits from 500 years ago. I can
> > imagine medieval women sharing tips on the most convenient ways to arrange
> > underlayers. (Or am I just assuming they would, because we do? That
> > "modern intuition" issue again...)

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From h-costume-admin@indra.com  Mon Jan  6 01:29:34 2003
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Date: Sun, 05 Jan 2003 23:30:20 -0700
Status: RO

Snip from message:
"Ooo, you mean like 3 piece suits (jacket, vest and pants, with
shirt and undershirt) worn by men in unairconditioned business offices
in the 1950s and before?"

Actually, if those are wool suits and cotton shirts/unders, it's a good "air 
conditioning" system all its own... I wear similar layers in wool, in the 
summer, for mid-19thc stuff, and your body adapts.  You sweat, yes, but the 
cotton absorbs that, and then the wool wicks it away, and you stay fairly 
comfortable.  Even today, summer-weight/tropical weight wool suiting is 
lighter than many cottons! Anti-perspirant interferes greatly though, by 
inhibiting the ability to sweat, and therefore, stalemating the evaporative 
cooling.  But otherwise, its a functional, intuitive system... when viewed 
from historic eyes.

Regards,
Elizabeth
http://www.elizabethstewartclark.com





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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
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Subject: [h-cost] Italian coif question (was Authenticity-questions to ponder)
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Date: Mon, 6 Jan 2003 18:11:38 +1100 (EST)
Status: RO

 --- Cynthia J Ley <cley@juno.com> wrote: 

> Question re: coifs: my persona occaisionally does
> Ren Italian--I was
> wondering it the Italian women wore coifs and if so,
> where I might find
> pictures and patterns.


Hi Arlys,

I have seen one depiction of an Italian woman wearing
what looks very like the "muffin cap" style of coif.
The woman on our right in this pic wears one:
<http://au.geocities.com/bella_lucia_da_verona/CarpaccioBetrothed2.JPG>

Here is another pic of a woman who is wearing a simple
coif, but in this case it looks like a sheer fabric,
embellished along the edges with pearls:
<http://au.geocities.com/bella_lucia_da_verona/CarpaccioBetrothed.JPG>

They did wear cauls quite often though. You can find
info/patterns at the Elizabethan Costuming Page:

<http://costume.dm.net/headwear/caulmake.html>



Bella


http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: [h-cost] Anniversaries
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Date: Mon, 6 Jan 2003 02:17:33 -0500
Status: RO

I almost forgot this... I didn't forget when I had to renew my domain names
this past week but forgot it was our anniversaries.  Monday, the Costume
Classroom's 5th Anniversary.  Saturday was the Costume Classroom's 2nd
Anniversary.  Actually the first webpages have been on the web since June
30, 1996.  But I officially got the domain name costumegallery.com on Jan.
6, 1998.

YIPPEEEEEEEE!  Popping the top on the bubbly and passing it around!

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: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
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Subject: [h-cost] Costume Gallery Trivia Contest
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Date: Mon, 6 Jan 2003 02:50:24 -0500
Status: RO

I am only opening this contest up to people on my newsletter and h-costume
email lists.  This contest is in celebration of our anniveraries.  Why
h-costume? Because you all have inspired and supported me throughout the
years.

TRIVIA CONTEST
Some trivia about The Costume Gallery websites.... see if you can answer
these.  Please send me your answers at penny@costumegallery.com .  Whoever
gets the most questions correct, wins a prize.  I am giving out three
prizes, 1st, 2nd, and 3rd places.  I will post the answers after I decide
who the winners are.

1. What was the name of my first website from June 30, 1996- Nov. 1997.
HINT: This was my website that I created in college and turned into my
business.

2. What is the oldest section of the Gallery?

3. What is the second oldest section of the Gallery?

4. What is the name of the first two photograph webpages that I put up on
the website?  They are two completely different areas.  They are still on
the site.  Send me the URLs.

5. How often do I change the Lady Penny image on the front page of the
Gallery?

6. Who is my assistant?  I know some of you know her first name is Susan,
but what is her last name?  Hint: It is on one of the websites.  For those
taking classes... don't be clever and write her.  She's not telling.

7. What was the first magazine with fashion articles, month and year, that I
put online?

8.  How many visitors have all three websites, the Gallery, the Ball, and
Classroom, received from Jan. 6, 1998 to Jan. 6, 2003.  HINT: you might want
to give a mixed number, if the contest is close.  I will total the exact
number at the close of the day Monday.

9. Who is in the logo of the 1998 Online Costume Ball?

10.  Who were the first three instructors for the Costume Classroom?

Send me your answers in an email message with the subject header, TRIVIA
CONTEST.  The only day I am accepting answers to the contest on Monday, Jan.
6.

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: =?iso-8859-1?q?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: Re: [h-cost] authenticity
To: h-costume@indra.com
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Date: Mon, 6 Jan 2003 10:00:35 +0000 (GMT)
Status: RO

 --- Marsha Hamilton <mjh@pearlandplume.com> wrote: 

> For example, on the skirt/trouser issue in the
> 1950s...
> I can't count the number of times I stood out in
> sub-zero weather in deep
> snow freezing to death waiting for the school bus to
> come.  Dressed in my
> 1950's knee length skirts, ..

Same here, but 1970s.

> Not because it was smart or warm but because that
> was the only style of
> clothing available and acceptable--both by peers and
> the school system.

Quite. *I* knew it was stupid, but the people making
the Rules weren't the ones getting cold and wet.


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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Mon, 6 Jan 2003 09:02:14 -0500
Status: RO

Thankyou Robin for the clarification.  I must have missed the first post of
the discussion.  Kathleen
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 12:09 AM
Subject: Re: [h-cost] WHEELFARTHINGALE!!!


>
> On Sun, 5 Jan 2003, Lloyd Mitchell wrote:
>
> > In this discussion of wheelfarthingale, is there some confusion
> > between wire crinolines and farthingales?  The photo being discussed
> > is certainly from the 19th Century, and has all the aspects of a
> > crinoline (hoop) and not the skirt distenders known from earlier
> > periods.
>
> The original post on this thread presented a quotation from 1617 regarding
> a farthingale of a particular size. One of the followups to that post
> presented the much later crinoline photograph as an example of another
> skirt structure, from a different period, for purposes of size comparison.
> I hope no one mistook this as a statement that the crinoline is the same
> as a farthingale.  They are two very different beasts.
>
> But in general, this is an area of some confusion.  Costume historians of
> the 18th and 19th centuries tended to assume that the c. 1600 farthingale
> was built using similar methods to the skirt extenders of their own
> periods. This has, in my view, contributed to an erroneous view today that
> the farthingales of c. 1600 were wired or boned frameworks like panniers
> or crinolines. The evidence from the farthingale period itself does not
> support this commonly held view.
>
> --Robin
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 6 Jan 2003 14:24:10 +0000 (GMT)
Status: RO

> For things where a sewing machine works (as opposed to things like 
> cartridge pleats), I feel that it's perfectly acceptable to use a 
> sewing machine since it does an approximation of a double running 
> stitch. (That doesn't mean that I don't completely handsew garments 
> for the fun of it. I do. However, I have a lot of hand impaired 
> friends who can't do it and I make sure they know that I only do the 
> "full handsewn" thing for fun.)

Also, it depends on what you are making and for which period. A fifth century
peplos gown, for example, cannot be machien sewn, because it just doesn't look
right. The seams we use are based on bog finds from 1st c. AD to 5th c. (the
latter usually seams and pieces of fabric corroded onto the backs of brooches
and buckles) and they show clearly what kind of weave was used (diamond twill
mostly) and what kind of seams. Having made several garments out of reproduced
diamond twill (that a weaving mill had specially done for us) with the most
common seam types, you can believe me that there is no way this can be
reproduced by machine. Then again it's not so much of a problem, because the
seam types are fast to make and quite fun to work. It gives a lovely wavy line.
On the other hand I wouldn't even dream of completely handsewing a 1700 suit
for ben or anything for myself. Having studied the seams in the extant clothing
I can only say that I would need many more years of handsewing experience to
reprudce such fine stitching (and no repetitive strain problems in my right
arm/hand).
At the same time I never sew in a sleeve by machine, but by hand, with a stitch
that was used back then. At first I thought it would be more difficult, but oh
no, I was amazed to find out that everything looked much more 'right' and went
in smoothly. I guess we can be very arrogant in thinking the way we do it _now_
is a better/faster/more efficient one. Nope...

Nicole - with the worst flu for years, three days and nights and it's the first
time I can sit up. ACK! Someone send piccies of FO's to cheer me up, phuleeze! :-)

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Buying a sewing machine
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Date: Mon, 6 Jan 2003 14:28:27 +0000 (GMT)
Status: RO

 --- sylvia <sylvia@ntw.net> wrote: > I bought the Pfaff 2020 a couple years
ago and have been very happy with it.
> My decision to go with Pfaff was based on their inclusion of the dual feed
> foot, which none of the other brands had at the time.  I don't know if any
> of them have subsequently included it.  

No, Pfaff is still the only one, even though they were bought by Husquarna (or
was that Viking?)

> The one thing I don't like about the Pfaff is the buttonholer, so I always
> go back to my ancient Singer with a buttonhole attachment when I need to sew
> in buttonholes.  I think other barnds have similar buttonholers.  I would
> try them out in the store on more difficult fabrics.  They always seem to
> work fine on easy fabrics like cottons, but I am rarely using them on easy
> fabrics.

I have the Pfaff 7050 and it has three options for buttonholes, using the
buttonholer, with fully automatic or half automatic, or making buttonholes
without automatic. I love it, even on really difficult fabric like ben's two
layer plus thick linen innerlining thick uniform coat. The best is their
buttonholes with a thick thread running through them, looks lovely. I do agree
though I rarely use the automatic buttonholes, they just don't work on anything
beyond thin cotton without thicker seams anywhere near.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 6 Jan 2003 14:32:38 +0000 (GMT)
Status: RO


> A while back, Husqvarna bought Pfaff. 

Doh! Didn't read your post before I snet mine, now did I? Thanks for clarifying
this.

They continue to produce the Pfaff
> line separately, at a factory in eastern Europe, NOT in Germany.

Well that's funny, because there IS a Pfaff factory in Germany where Pfaff
machines are built.

> But the best machines, especially in terms of quality craftsmanship and
> lasting forever, are Berninas.

I beg to differ, I still say in my opinion that Pfaff is the best, but it's the
same with cars, whatever one was lucky with (and mum and grandmum) that is the
best in one's opinion, while it often depends on the individual machine.

> Forget Singer, unless it's 60 years old and made of cast iron.

I fully agree! They turned nastily plastic years ago.

Nicole - back to bed

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Mon, 6 Jan 2003 07:42:02 -0700
Status: RO

I don't think there is confusion-I think I just caused a diversion in
the conversation.  With the photo I was responding to the great width of
the wheel farthingale by mentioning that there were other fashion
extravagances later on.  And, as you have pointed out, while the photo
may be a spoof, it is not far off the numerous fashion plates and
catalog selections seen in Boucher's book and elsewhere.   

Sg



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From: sewinggoddess@att.net
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Mon, 06 Jan 2003 15:11:20 +0000
Status: RO

Between me and my mother we've managed to "kill" two Viking machines. Before I 
decided to buy a new machine, I took in some of my costumes to the local Viking 
dealer and showed the store owner some of the things I sew and how many layers 
of piping and trims and such I apply. After I explained all the different types 
of sewing I do and the sewing my mother does ( she costumes the local opera!), 
the store owner actually refused to sell me a machine.  To quote her" I don't 
have a machine that will sew what you need it to. Go to the Singer dealer, 
their machines are built sturdier."  Bought a Singer school model after having 
the same show and tell session and haven't had any problems since, besides the 
usual five mile tune-ups.

Crissy
> 
> I love my Vikings, had them for 20 years, and I work them hard.  My
> mother, also a professional seamstress, does alterations nowadays,
> swears by her Elna's.  Got a new one 2-3 years ago and loves it, giving
> 20 year old maching to my niece.  She works her machines hard, altering
> wedding dresses mostly.
> 
> 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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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] authenticity/idiotically unsuitable
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Date: Mon, 6 Jan 2003 07:09:54 -0800
Status: RO

Actually, the rule changed the next year to allow pants (but not jeans)
and jeans weren't allowed for a couple of more years.  :-)

LuAnn who was there too...

This is interesting.  I attented BYU from 1982-83 just when women were
allowed to wear jeans to class but most of the editorials and cartoons were
still around for me to read about the event and I discussed it with a number
of people who were there.  But I remembered the story in terms of my own
concerns, that is, whether or not I would be able to wear jeans.  Wow!

Lisa

----- Original Message -----
From: <luann.mason@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Sunday, January 05, 2003 9:23 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


> On Sun, 5 Jan 2003 18:14:18 -0800 "Lisa Sinervo"
> <lisa-list@threadneedlest.com> writes:
> > From the Brigham Young University files 1980
> >
> > The school had a rule that women could not wear jean to class.
> > Snows in
> > Utah in the winter,  very cold.  A young woman wore jeans to class
> > on the
> > day of her final and was not permitted access to the examination
> > room, so
> > she went to the ladies room, removed her pants and sat the exam in
> > her
> > trench coat and panties.
> >
> > Story hit the national papers too.  Shortly thereafter the rule
> > changed.
>
> Actually, the rule changed the next year to allow pants (but not jeans)
> and jeans weren't allowed for a couple of more years.  :-)
>
> LuAnn who was there too...
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Subject: [h-cost] Re: Dyeing with tumeric
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Date: Mon, 6 Jan 2003 09:56:45 -0500
Status: RO

This question was on around Christmas, but I'm just getting caught up.
Instead of getting the tumeric from the local chain grocery, see if you can
find an Indian or Pakistani grocery.  You can get several times the amout of
tumeric for the same price you would pay for the little bottle -- and it's
fresher. It takes a lot of tumeric to get a good color. You can also check
International Farmers' Markets (Atlanta has a big one) for raw tumeric.
Haven't tried that, but could be very interesting. I've used the powdered
form for both cotton and wool with good results.  I use an alum mordant and
then place the fabric in a concentrated dye bath for an extended period of
time.  You do get a lot of sludge from tumeric, but you also get a wonderful
scent!  I suppose if the sludge bothers you, you could make the "dye" by
cooking the tumeric power in water until it gives up its coloring and then
filter out the sludge before you do the dyeing.  I do that when I dye with
henna.
Fu'il
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To: h-costume@indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] French Seams?
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Date: Sun, 5 Jan 2003 12:45:53 -0800
Status: RO

At 1:12 PM -0800 1/1/03, lilinah@earthlink.net wrote:
>One reason i asked about French seams is that i'm in the process of 
>making a 16th century Ottoman woman's outfit.
>
>A woman's gomlek is a white undertunic. As far as i have been able 
>to determine, they were made of sheer cotton or silk. None seem to 
>have survived, as far as i can tell, and paintings only show the hem 
>(most only the very bottom, but some from the mid-thighs down) and 
>sleeves (some from elbows to wrist) and a bit of the neckline. So 
>i'm guessing at the upper sleeve shape and the construction of body 
>from shoulder to mid-thighs.


<snip>


>French seams are, in my opinion, the nicest for fine sheer fabrics, 
>but since they appear to be too late in time, i wonder what would be 
>an effective, more historically accurate solution. I'm guessing hand 
>turning every raw edge and running stitching them... Any other 
>suggestions?

Just as another example of what people _have_ done with very fine 
fabrics in this situation (but dreadfully far away in time in the 
opposite direction) the most common seaming technique used with very 
fine Pharaonic linens was to do a tiny rolled hem on both pieces and 
then overcast the two hems together.  I've done this on several items 
(a medium-light linen for a full-sized dress, and an extremely fine 
linen for a set of doll garments) and while it's very 
labor-intensive, the results are very satisfactory.  Absolutely no 
ravelling problems and the seams are flexible and not particularly 
bulky.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] authenticity/idiotically unsuitable 
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Date: Mon, 06 Jan 2003 07:57:48 -0800
Status: RO

At 11:57 PM 01/05/2003 -0600, chiara wrote:
>I remember a few years ago the thread on this part was started and then
>closed due to the gross nature the thread turned to. Then someone posted a
>new list being created to discuss that one aspect of feminine hygiene. I
>will look through the archives I have to see what that list address was and
>you can probably find the archive to it with some of the answers you are
>seeking. :)
>
That was H-fem.  Unfotunately, Yahoo closed it a while back for lack of
activity, and I didn't copy the archives.  

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
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Subject: Re:[h-cost] Buying a sewing machine
From: randl <randl@adelphia.net>
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Date: Mon, 06 Jan 2003 11:10:08 -0500
Status: RO

on 1/6/03 9:58 AM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

> 
> I beg to differ, I still say in my opinion that Pfaff is the best, but it's
> the
> same with cars, whatever one was lucky with (and mum and grandmum) that is the
> best in one's opinion, while it often depends on the individual machine.
> 
>> Forget Singer, unless it's 60 years old and made of cast iron.
> 
> I fully agree! They turned nastily plastic years ago.

i have a singer merritt, and i like it just fine. i've moved w/it several
times, dropped it, had it cleaned infrequently and just generally tried to
run it into the ground. it hasn't died on me yet, knock on wood.
i've sewn everything from tissue silk to layers of heavy canvas. i have
found that it doesn't like some kinds of fusable interfacing, but i don't
use it much. 
the parts are easy to find and it's easy to run. did i mention i've had it
for 15 years (so far...).

> Nicole - back to bed
hope you feel better!
laurie

> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org

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From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Italian coif question (was Authenticity-questions to ponder)
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Date: Mon, 6 Jan 2003 10:29:26 -0600
Status: RO

I don't know...that doesn't look like a coif to me, but rather more of a
reta...?

Talia

<snippage>

Here is another pic of a woman who is wearing a simple
coif, but in this case it looks like a sheer fabric,
embellished along the edges with pearls:
<http://au.geocities.com/bella_lucia_da_verona/CarpaccioBetrothed.JPG>

<snippage>

Bella



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From h-costume-admin@indra.com  Mon Jan  6 11:32:32 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re:[h-cost] Buying a sewing machine
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Date: Mon, 6 Jan 2003 16:32:01 +0000 (GMT)
Status: RO

 
> the parts are easy to find and it's easy to run. did i mention i've had it
> for 15 years (so far...).

Hmm.. hut had they already changed to plastic 15 years ago?

Still, I do believe that there is no 'general best' sewing machine as much as
there is no 'general best' car, so much has to do with the actual individual
piece. Some are superb, others have faults from the start. My family fared best
with Pfaff, others with Singer, friends with Husquarna, and so on. Just stick
to your gut feeling and the price and whatever takes your fancy amongst the
best known products. I suppose that any of the big names is a good choice.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 06 Jan 2003 09:30:20 -0800
Status: RO

N Kipar wrote:

> --- sylvia <sylvia@ntw.net> wrote: > I bought the Pfaff 2020 a couple years
>ago and have been very happy with it.
>  
>
>>My decision to go with Pfaff was based on their inclusion of the dual feed
>>foot, which none of the other brands had at the time.  I don't know if any
>>of them have subsequently included it.  
>>    
>>
>
>No, Pfaff is still the only one, even though they were bought by Husquarna (or
>was that Viking?)
>  
>
What is a dual feed foot? Is it the same as a walking foot? If so, then 
the higher-end Berninas include it.

liz
lizyoung@fenris.net

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From h-costume-admin@indra.com  Mon Jan  6 12:56:52 2003
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From: kat@grendal.rain.com
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Date: Mon, 06 Jan 2003 09:02:46 -0800
Status: RO


> Snip from message:
> "Ooo, you mean like 3 piece suits (jacket, vest and pants, with
> shirt and undershirt) worn by men in unairconditioned business offices
> in the 1950s and before?"
> 
> Actually, if those are wool suits and cotton shirts/unders, it's a
> good "air conditioning" system all its own... I wear similar layers in
> wool, in the summer, for mid-19thc stuff, and your body adapts.  You
> sweat, yes, but the cotton absorbs that, and then the wool wicks it
> away, and you stay fairly comfortable.  Even today,
> summer-weight/tropical weight wool suiting is lighter than many
> cottons! Anti-perspirant interferes greatly though, by inhibiting the
> ability to sweat, and therefore, stalemating the evaporative cooling. 
> But otherwise, its a functional, intuitive system... when viewed from
> historic eyes.

But to someone used to polyester suits and shirts, they would 
"intuitively" think (from a modern viewpoint) that what you are 
saying (which those of us who've done the research or lived through 
it know is correct) is not possible.

Also, if someone has not lived for prolonged periods without 
airconditioning (other than swamp coolers which only work when it is 
not humid) they will, by their "modern intuitive" thinking, also 
think it's not possible that men would have worn those suits all day 
long. They'd probably think that they took off the jacket and vest at 
the very least. (Well, we know the clerks in the backroom did, but 
not the bankers and business men.)

Kat Russell
<kat@grendal.rain.com>

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From: kat@grendal.rain.com
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Subject: Re: Re: [h-cost] historical spinning, was: Authenticity-questions to ponder
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Date: Mon, 06 Jan 2003 09:02:44 -0800
Status: RO


> Hald seems to use the direction of spin as one factor to help date
> early textiles, but that's because they tend to be consistent within a
> time and place, not becuse they were always one way before a given and
> always another way afterwards.

That's why the discussion started out talking about the transitional 
period when there were *many* combinations of spin.

> Sounds fascinating, and you've got me wondering about whether there's
> a twist in the drive-band of medieval spinning wheels, since clockwise
> on the driving wheel will spin S only if there's a twist in the
> driveband between the driving wheel and the spindle (i.e. the
> driveband's a figure-eight rather than a circle). I pulled out my
> "Medieval rural life in the Luttrell Psalter" and, despite some rather
> cubist perspective, there's the twist in the driveband. If the
> Luttrell drive wheel was spun clockwise it looks like it would turn
> the spindle anti-clockwise which would indeed produce S-spun. I'm
> still figuring out the position of the spinster, however, since she
> seems to be either beating the wheel anti-clockwise or stopping the
> wheel at her maximum draw, and I would have expected her to be able to
> go straight from spinning to winding on by angling the thread without
> stopping the wheel.

I was looking at it last night too and it looked like there was a 
twist in the driveband. I'm not an expert on the wheel but have to go 
with what my weaving books tell me about it. Unfortunately, there is 
not a all-comprehensive book about the wheel.

Another thing is that men tend to be the ones (with a few exceptions 
such as Anguissola and Terlinc) painting the pictures and 
manuscripts. And while they may be good at figuring out what the 
thing looks like if it is right in front of them and remember 
somewhat how the person was standing and holding their hands, you 
can't depend on it for documentation of how the thing was done. I 
still remember the woman to whom I was apprenticed pointing out the 
looms in several paintings where they were missing essential pieces 
for that particular type of loom. In other words, you can't take the 
pictures as evidence of how they were used. (It's better to go to the 
textiles themselves.)
 
> > Even with modern wheels, many are set up to be used for spinning in
> > only one direction. It's awkward to use it in the opposite direction
> > or the mechanism doesn't work quite right (depending on the type.)
> 
> Maybe this is a matter of what you're used to. 

Keep in mind that I said "many" not "all" or "none." 

Both my original Little
> Peggy upright and my current Ashford Traditional spin equally well in
> either direction with a flick or two of the foot (the new double
> treadle and polymer driveband make control even easier: have you ever
> noticed how spinners can sound a lot like car enthusiasts when talking
> about hotting up spinning-wheels?). I rather suspect that the members
> of the Spinners and Weavers Guild I learned with would have had little
> time for a temperamental wheel: they were primarily interested in
> spinning for knitting, knitting wool is almost always plied, and to
> spin and ply on the same wheel the wheel must be able to spin both S
> and Z. If it doesn't, send it back.

Most of the people I know who spin on a wheel are doing it for the 
purpose of weaving. I only know one knitter who uses a wheel and we 
haven't discussed spinning.

So purpose is probably pretty important when it comes to choosing the 
type of wheel you want. ;)

> > It's interesting because it looks like many areas have conventions
> > depending on the type of bast fibre they started spinning with
> > spindles. If you spin linen the way you would hemp, it goes "against
> > the grain" of the fibre. With wool it can be spun either way, but
> > the conventions usually follow the predominant bast type.
> 
> Sounds reasonable, and rings a distant bell. Do you have any sources I
> could track down? 

Agnes Geijer's textile history book is a good one. She's done a lot 
of primary research into this (spinning analysis, weaving analysis) 
in terms especially of the Northern textiles. She's one of the 
sources where I saw this discussion about spin direction (although 
I'd have to go look it up again to find the others and I don't have 
time at the moment.)
 
> > > If you want to be really nit-picky, you can take some advice
> > > Carolyn Priest-Dorman gave me a decade ago and use the direction
> > > of spin to make continuous-twist tablet-weaving more even. The
> > > twist of the tablets during weaving is itself a form of plying, so
> > > by matching the twist of the threads to the twist of the cards
> > > you'll avoid having some cards that produce puffy (balanced twist)
> > > weaving while others produce tight (over-twist) weaving.
> >
> > Yep. But getting commercially spun threads of the opposite spin is a
> > pain. ;) (I guess this is a time when you have to spin your own or
> > pay someone to spin it for you.)
> 
> That's the one. And it's not even a hugely arduous amount of spinning,
> so it might even be worth it. :-)

Better you than me, cookie!

When I manage to set up a cardweaving project I have these neat 
little spinner things you can get from fishing supply places that 
decreases the over/under spin problems you can get with card weaving. 
I also tend to use patterns where they go back and forth rather than 
always turning the same direction. It cuts down on needing to worry 
much about that problem.

> > Exactly. And it also depends on how much you want to do the other
> > things. For example, I like to handsew, I like pattern making and I
> > like to research. I've tried spinning, weaving, etc (and I've done a
> > lot of dyeing), but I'd much rather actually make a garment than put
> > my effort into making the fabric to make the garment. Also, I figure
> > that I'd be using bought, finished fabrics anyway, not producing
> > them myself. (Not a subsistence kind of gal.)
> 
> Fair enough. I must say that fabric-weaving is not my favourite thing
> and doesn't generally pass the cost-benefit analysis for me. But using
> only what is available to us through modern commercial sources skews
> our recreation towards what is normal now, eliminating some types of
> gear that were reasonably common then. For most of us this is a
> compromise we accept for practical reasons, but if people are willing
> to broaden our range of recreation by reproducing historical items and
> techniques that are not readily available in the modern world, more
> power to them.

Oh, amen to that! I strongly encourage people who want to go that 
extra bit. In fact, I get rather annoyed when people start saying 
backhanded compliments about "anal-retentiveness" and calling those 
people who like to do things of that sort by perjorative names/titles 
because of their interest. I think that there are many "crab pot 
mentality" people who don't like to see others doing something that 
makes them feel like they could do better. (I just wish they'd deal 
with their senses of inadequacy/lack of perfection in a little more 
adult fashion, please.)

Personally I see the people doing extra as an incentive to learn 
more, even if I can't *do* the things they are doing. And I want to 
do all I can to help them (which is how I ended up doing the research 
I've done recently on spin and weave types, as well as analyzing 
fabrics.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: Re: [h-cost] authenticity/idiotically unsuitable
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Date: Mon, 6 Jan 2003 13:15:51 -0500
Status: RO


> Shorts are only for casual wear.  I think breeches for men should come back
> in style!  That would be loads of fun!!!
> 
> Lisa
> 
Hey...I wear breeches to worl almost daily!

Cheers,


R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Subject: RE: [h-cost] WHEELFARTHINGALE!!!
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Date: Mon, 06 Jan 2003 09:19:41 -0800
Status: RO


>You can thank our Victorian ancestors that there are not very many
>portrait or other information about that. If you look at some of the
>portraits from the late Elizabethan and Jacobean time you can see
>these fantasticly low necklines. Most people who know about female
>breast position/anatomy wonder how they could possibly get them into
>that low a neckline without exposing the nipples. The answer is that
>they didn't. However, if you examine the paintings with methods which
>show the underlying paint layers (such as IR and xray) you find that
>those nipples are "present and accounted for". Woodcuts faired even
>more poorly. Except for the ones like you mention above (I've also
>seen one of a very proper lady serving her family and the visiting
>minister at dinner), most of the engraving/woodcuts have very odd
>scratchings over that area, courtesy of their prudish descendants.

Phoey.  I was figuring, at my age and lack of natural elasticity, to 
re-create a Jacobean some day, while retaining a pg-13 rating.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] authenticity
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Date: Mon, 06 Jan 2003 09:38:54 -0800
Status: RO


> > We should collect examples of all the idiotically unsuitable things
> > we've worn over the years!  It will give costume historians of the
> > future a good laugh.
>
>Ooo, you mean like 3 piece suits (jacket, vest and pants, with shirt
>and undershirt) worn by men in unairconditioned business offices in
>the 1950s and before?

You omitted the useful necktie.

My mother was a grade school teacher, and taught third grade mostly.  In 
California in the later 60s, when I was still not allowed to wear trousers 
to school, female teachers weren't either.  That meant she had to do all 
the reaching up, bending over, and crawling around that lower-grades school 
teachers had to do, while wearing just-above-the-knee-length skirts and 
separate stockings.  She had already stopped wearing skirts at home in 
favor of wearing trousers, and was so glad when their dress code changed too.

The no-trousers rule at my high school changed the year after I 
graduated.  But, oddly enough, 'granny dresses', ankle length 
fakey-Victorian things, wren't allowed where inelegantly short ones, to be 
worn with pre-panty-hose separate stockings, were allowed.  (Yes, panty 
hose were available to us in the mid-60s, but they cost as much as a pair 
of shoes did, and I couldn't afford them.)

Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 06 Jan 2003 09:59:04 -0800
Status: RO


>So, in spite of the people uninterested in the stated reason for the
>SCA, there are people like myself, Drea and others who do the
>research in this way. By definition it is a "living history" group.

But they don't think of themselves as a living history group, nor do they 
'play' like a living history group.

>The parts I find most difficult to reconcile is the tolerance for the
>post 1600 Western Europe and all the Oriental and Central American
>personas which are tolerated.

You forgot the African personae and the Eastern European and Middle-Eastern 
ones.  But there are so many of them now that it's too late to exclude them 
(and too rude to throw them out).

>However, it is set up as an inclusive
>group (with the hope that people will "grow" into the Western Culture
>part) rather than an exclusive group where you just about have to be
>perfect before you can play at all.

You forgot about the newcomer's organizations within the SCA, dedicated to 
helping clothe the newcomers and get them integrated into the SCA as easily 
as possible.  But most other living history groups have these too, if 
unofficially.

>For many of us, the SCA has given us a venue where we can do the
>costume and costume research, and have a place to wear it and
>teach/learn about it,

That's why I like it, and for the chance to dabble in some of the period 
arts and crafts I can't do in a regular living history setting.

Kayta

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

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Date: Mon, 6 Jan 2003 13:32:39 -0500
Status: RO

        I remember my first teaching job in 1957.  We had a really cold
winter and no heat (Florida schools were not being built with heater in
those days).  On nasty cold morning I put on my black turtleneck sweater
and black and turquoise flannel circle skirt and decided my legs were
freezing.  So instead of my nylons and high heels, I put on a pair of
thigh high black socks with turquoise flecks in them and a pair of black
loafers.  The principal asked that I not do that again and from then on I
wore the nylons (with seams, of course) and high heels for the rest of my
teaching career (which was just three years).  And for that I made the
magnificent sum of 3200.00 a year.  That is correct - two zeros before
the decimal, not a typo.

Lalah
Never give up, Never surrender
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Subject: [h-cost] dual feed foot
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Date: Mon, 6 Jan 2003 13:03:50 -0600
Status: RO

Liz wrote:

What is a dual feed foot? Is it the same as a walking foot? If so, then 
the higher-end Berninas include it.

***********************************
On a normal sewing machine, the fabric is pulled through under the
presser foot by the feed dogs. They grasp the bottom layer of fabric
only, and any other layers are pulled along with the bottom layer.

Pfaff has a little foot behind the presser foot that pulls the top layer
through as the feed dogs push the bottom layer. Although it is a
built-in feature, you can disable this, if you wish. 

Bernina doesn't use this method. They just made a better, more efficient
feed dog system instead.

I do have a walking foot for my Bernina, but I never use it. It's noisy
and annoying, and doesn't improve the stitch that I can see. Would
anyone like to buy it?

Kim 

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Date: Mon, 6 Jan 2003 14:05:56 -0500
Status: RO

<<<
Also, if someone has not lived for prolonged periods without 
airconditioning (other than swamp coolers which only work when it is 
not humid) they will, by their "modern intuitive" thinking, also 
think it's not possible that men would have worn those suits all day 
long. They'd probably think that they took off the jacket and vest at 
the very least. (Well, we know the clerks in the backroom did, but 
not the bankers and business men.)>>>

        I have lived in Florida from the central to as far south as you
can go (Key West) without air conditioning.  Went through sixteen years
of school and three years of teaching (on Islamarada in the Keys) without
air conditioning.  About ten years ago I got my first window A/C unit and
added on each year until I was spending the summer in comfort.  Last year
my plastic debts caught up with me and I am on a debt management budget
that does not allow for two hundred dollar electric bills so I have gone
this year without air conditioning.  The first part of the summer I
thought I would die.  By the end of summer, I was uncomfortable, but
moving right along in my cotton T-shirt and jeans.  Our bodies adapt if
we give them time.

Lalah
Never give up, Never surrender
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Date: Mon, 6 Jan 2003 14:10:02 -0500
Status: RO

<<<.  (Yes, panty 
hose were available to us in the mid-60s, but they cost as much as a pair

of shoes did, and I couldn't afford them.)>>>

        And the early ones bagged around the ankles every time you sat
down.
 

Lalah
Never give up, Never surrender
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Subject: Karen/Re: Effigy/Re: [h-cost] wheel farthingale
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Date: Mon, 6 Jan 2003 20:10:43 +0000
Status: RO

Oh thats just fab Karen.I have to go down to london late this week or in 
a week's time to do some paperwork and shall treat myself to a visit to 
Wesminster Abbey so will be able to see the effigy if its still on 
show.My sincere thanks.

Marcus.


On Sunday, January 5, 2003, at 11:21  pm, seamstrix@juno.com wrote:

> The effigy of Queen E is in Westminster Abbey. It isn't in the Abbey
> proper but in a small building out in the Cloister area. As far as I
> know, it's still on display, or it was about 3 years ago when I was
> there. They sell a very nice book to go along with the exhibit (which 
> has
> pretty much all the remaining funeral effigies that the Abbey has, they
> were nicknamed 'The Ragged Regiment' back in the Victorian era when many
> of them were worse for wear.) It has many pictures of the various
> effigies (Nicole, you need to see this as many of the effigies are from
> people prominent at the end of the 17th and into the early 18th century
> and many of the items of clothing were taken from their living 
> wardrobes)
> as well as shots taken during the last refurbishment so you can see the
> underpinnings. Of course, I bought the book- it was quite reasonable 
> as I
> recall, about $10BPS. If folks are interested I could dig it out and 
> scan
> some of the images that folks would most like to see.
>
> Karen
>
>
>
> On Sun, 5 Jan 2003 23:49:50 +0000 marcus findlay-arthur
> <mangal.kalima@virgin.net> writes:
>>
>> On Sunday, January 5, 2003, at 10:45  pm, Bjarne og Leif Drews
>> wrote:
>>
>>> My theory about this is that there was a farthingale on the wax
>> effigy
>>> who
>>> had this shape, but when they remodelled it, they used a modern
>> cut - a
>>> panier.
>>
>> Yep thats what I thought when I finally realised that I was looking
>> at
>> panniers and not a 'wheel farthingale'.Very vexing I must say.
>>
>>> Has any on the list ever seen this wax effigy?
>>
>> I can't remember where it was on site - Westminster,Bjarne or is my
>>
>> memory playing tricks?Wherever it is its no longer on display I
>> don't
>> think.The effigy featured in the series of pics that showed the cane
>>
>> panniers/farthingale was Queen Anne I believe.
>>
>>> I havent even seen a photo of it, only the panier.
>>
>> Me too.Still its intriguing.
>>
>> Marcus.
>>
>> _______________________________________________
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>> h-costume@mail.indra.com
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>>
>>
>
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Subject: Re: Re: [h-cost] authenticity/idiotically unsuitable
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Date: Mon, 6 Jan 2003 11:34:57 -0800
Status: RO

Really?  Are you a baseball player?
:)
Lisa Sinervo
Threadneedle St. Clothiers
www.ThreadneedleSt.com


----- Original Message -----
From: <r.carnegie@verizon.net>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 10:15 AM
Subject: Re: Re: [h-cost] authenticity/idiotically unsuitable


>
> > Shorts are only for casual wear.  I think breeches for men should come
back
> > in style!  That would be loads of fun!!!
> >
> > Lisa
> >
> Hey...I wear breeches to worl almost daily!
>
> Cheers,
>
>
> R.Carnegie@verizon.net
> "Argue for your limitations, and they are yours."
>              R. Bach
>
> _______________________________________________
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Subject: Re: [h-cost] authenticity
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Date: Mon, 6 Jan 2003 20:29:24 +0000
Status: RO


On Monday, January 6, 2003, at 01:23  am, Marsha Hamilton wrote:

> on 1/4/03 3:21 AM, Ella Lynoure Rajamaki at lynoure@tuug.fi wrote:
>
>> On Fri, 3 Jan 2003 kat@grendal.rain.com wrote:
>>
>>> Shoot, when I was in school, we were not *allowed* to wear trousers
>>> of any sort to school, no matter what the weather. (And it was *very*
>>> cold...So, while a
>>> modern person would say that it couldn't be that girls in the 1950s
>>> and 60s wouldn't wear trousers in cold weather, I can assure you that
>>> we didn't. (If we tried, we got expelled from school.)
> -----------
>> Skirts can be plenty warm and nice in very cold weather. It has been
>> between -20 and -28 Celsius here this week, and I have still worn 
>> skirts....
> ------------
> This thread is interesting because it has come up before.  I think 
> people in
> looking back historically exhibit the prejudice that people do things 
> for
> rational reasons.  Whether its pockets or warmth.  I don't think that's
> true.
>
> For example, on the skirt/trouser issue in the 1950s...
> I can't count the number of times I stood out in sub-zero weather in 
> deep
> snow freezing to death waiting for the school bus to come.  Dressed in 
> my
> 1950's knee length skirts, car-coat length winter coat, sock or nylons, 
> and
> ankle height slip on boots.  My frozen legs were totally exposed, the 
> snow
> always fell over my boot tops and got my feet miserably wet.  But that 
> is
> what I wore every winter.
>
> Not because it was smart or warm but because that was the only style of
> clothing available and acceptable--both by peers and the school system.

When I was in primary school in the 60's thru' to the age of 13 our 
school uniform for winter was grey flannel shorts,wool knee high socks 
and cotton shirts with a blazer & school tie.If you were wimpy you could 
wear a school jumper over the cotton shirt.We didn't get to wear 
'longs' - long grey pants until High School.So while we were warm in 
winter we died of the heat in an African summer as the perspiration 
soaked us from waist to wool clad feet.I can remember my feet sliding in 
my shoes as I stripped in the afternoons going home on the train in an 
effort to cool down in 105 Degree heat.

Gross!!!

Marcus.

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From h-costume-admin@indra.com  Mon Jan  6 14:35:52 2003
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Subject: Re: [h-cost] WHEELFARTHINGALE!!!
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Date: Mon, 6 Jan 2003 20:32:18 +0000
Status: RO

No,you're right - I went off on a tangent with Robin's post about 
fathingales.It was originally about the Victorian crinoline photo.

Marcus.


On Monday, January 6, 2003, at 03:21  am, Lloyd Mitchell wrote:

> In this discussion of wheelfarthingale, is there some confusion between 
> wire
> crinolines and farthingales?  The photo being discussed is certainly 
> from
> the 19th Century, and has all the aspects of a crinoline (hoop) and not 
> the
> skirt distenders known from earlier periods.  Also, the fact that it 
> is a
> photograph should have some explanation. re the date.  Admitted, it is 
> an
> exaggeration and like the cartoons of the era, was probably intended 
> as a
> joke...which has already been mentioned. If the diameter is about 6', 
> the
> yardage around the bottom would be somewhat over 5+ yards.  Since 
> skirts of
> this period are often quoted at more than 5-6 yards, especially ball 
> gowns,
> the exaggeration isn't really that far out...from my vantage point.
> Kathleen
> ----- Original Message -----
> From: "marcus findlay-arthur" <marcus.cuttingtable@virgin.net>
> To: <h-costume@indra.com>
> Sent: Sunday, January 05, 2003 4:56 PM
> Subject: Re: [h-cost] WHEELFARTHINGALE!!!
>
>
>>
>> On Sunday, January 5, 2003, at 08:47  pm, Robin Netherton wrote:
>>
>>>
>>> On Sun, 5 Jan 2003, Bjarne og Leif Drews wrote:
>>>
>>>> The way i read this is that she has a farthingale wich is 4 feet in
>>>> the hips. Then i am unsertan if they used the word farthingales for
>>>> the bum rolls. My point is that it is a wheel shaped farthingale 3
>>>> feet in the hips.
>>>
>>> Yes, definitely, I read it also as referring to the skirt shape that
>>> people today call the "wheel farthingale," meaning the type that makes
>>> the
>>> skirt look as though it's sticking out from the waist in a circular
>>> shape.
>>> The time period is right for that, too. But I don't get anything from
>>> the
>>> quote that tells us the nature of the structure that's holding up the
>>> skirts.
>>
>> Probably the most accurate and authentic 'reading' as to scale.
>>>
>>>  "Wheel farthingale" was not a period term; it was invented by
>>> later historians as a description of the visual shape seen in the
>>> portraits from around the early 1600s. Later writers have also called
>>> it a
>>> "cartwheel farthingale," "Catherine-wheel farthingale," and "drum
>>> farthingale," all apparently based on the appearance of the shape in
>>> portraits.
>>
>> Correct.
>>
>>>  I haven't yet found a recorded use of any of these terms that
>>> dates to the time in which this shape was worn. (If someone has such a
>>> reference, let me know!)
>>
>> I've been looking for 30 years and have not found documentable 
>> reference
>> anywhere.
>>>
>>> So we know that whatever-it-was they were wearing, the people who were
>>> wearing it called it the French farthingale. The question, then, is 
>>> what
>>> the "French farthingale" itself was made of. Modern scholars have
>>> assumed
>>> it was a boned structure (as pictured in Hunnisett and others),
>>> perhaps a
>>> circle of sturdy cloth held in shape with concentric circles of
>>> whalebone
>>> (or metal or another material), with or without a hooped skirt hanging
>>> down. When I tried to track this idea back to the sources from the
>>> period,
>>> though, I found that the trail dead-ended in the late 1700s, with the
>>> suppositions of the costume historians at the time, who were steeped 
>>> in
>>> the personal knowledge of 1700s styles (panniers and other wire
>>> frameworks). References from the early 1600s are more consistent with
>>> the
>>> idea that it was a structured bolster. There is no period reference, 
>>> of
>>> those I've seen, that definitively requires interpretation as a
>>> wheel-frame, but there are many references that do require
>>> interpretation
>>> as a stuffed roll (including some dictionary definitions).
>>
>> The nearest I've ever come to for an extent example is the one that was
>> used on the wax effigy of Elizabeth.However its made with cane in a
>> cotton form and was constructed when the statue was cleaned up and
>> redressed in the 18thC.It even looks like panniers to me.
>>
>> Marcus.
>>
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>
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Subject: [h-cost] Re: Busts & Prudes/Woodcuts
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Date: Mon, 6 Jan 2003 20:41:20 +0000
Status: RO


On Monday, January 6, 2003, at 03:23  am, kat@grendal.rain.com wrote:

> I don't know about the virginity part.

Hhhhmm the calculating part of me would agree with you.I don't 
understand the thinking about it myself and found myself getting all shy 
about it.Still I was only 15 aat the time.

> The intact woodcut I've seen
> was of a woman serving dinner to her husband and the minister.

The one I saw was of a woman on horseback circa 16teens at the latest 
and she had a traveling companion either a groom or escort of some 
sort.All I could think of was 'hey,isn't that hell bouncing around on a 
horse for hours untold,not to mention the chill factor?'
(And Robin this woodcut was featured in that book with the Gates of Hell 
paragraph.)

> Married women generally are no longer considered maidens or virgins.

Thats what I thought.
>
> However, you are right about our ancestors being a hearty bunch!

Certainly - you've got to love them when it comes down to it.Because 
without them we wouldn't have got here.

Marcus.

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Date: Mon, 6 Jan 2003 20:50:21 +0000
Status: RO


On Monday, January 6, 2003, at 05:50  am, Robin Netherton wrote:


> I would kill for equivalent practical tidbits from 500 years ago. I can
> imagine medieval women sharing tips on the most convenient ways to 
> arrange
> underlayers. (Or am I just assuming they would, because we do? That
> "modern intuition" issue again...)

Robin,didn't the Roman woman use sponges?And I know strips of cloth 
especially kept aside for the purpose were used during the Victorian 
era,possibly even before?But it would be fascinating.(I'm getting way 
too out of my depth here - its been a rough day and two Jack Daniel's 
coffee's later hasn't helped aside from dull the nerve endings!)
16thC Indian woman wore a strip of cloth wrapped very much as males wore 
daily as knickers,on their moon days and went into seclusion.Going 
without once the menses were done.

Marcus.

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Subject: Re: [h-cost] Re: Dyeing with tumeric
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Date: Mon, 6 Jan 2003 20:56:01 +0000
Status: RO


On Monday, January 6, 2003, at 02:56  pm, Rebecca Wendelken wrote:

> This question was on around Christmas, but I'm just getting caught up.
> Instead of getting the tumeric from the local chain grocery, see if you 
> can
> find an Indian or Pakistani grocery.  You can get several times the 
> amout of
> tumeric for the same price you would pay for the little bottle -- and 
> it's
> fresher. It takes a lot of tumeric to get a good color. You can also 
> check
> International Farmers' Markets (Atlanta has a big one) for raw tumeric.
> Haven't tried that, but could be very interesting. I've used the 
> powdered
> form for both cotton and wool with good results.  I use an alum mordant 
> and
> then place the fabric in a concentrated dye bath for an extended period 
> of
> time.  You do get a lot of sludge from tumeric, but you also get a 
> wonderful
> scent!  I suppose if the sludge bothers you, you could make the "dye" by
> cooking the tumeric power in water until it gives up its coloring and 
> then
> filter out the sludge before you do the dyeing.  I do that when I dye 
> with
> henna.
> Fu'il

Oh thats bril.Thanks for the info - it'll be a big help when I'm 
experimenting at the end of the month.Sincere thanks,

Marcus.

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Date: Mon, 6 Jan 2003 12:09:52 -0800 (PST)
Status: RO



> This is interesting.  I attented BYU from 1982-83
> just when women were
> allowed to wear jeans to class but most of the
> editorials and cartoons were
> still around for me to read about the event and I
> discussed it with a number
> of people who were there.  But I remembered the
> story in terms of my own
> concerns, that is, whether or not I would be able to
> wear jeans.  Wow!
> 
> Lisa


Lisa,

They still weren't accepting Jeans or sweatpants when
I was at BYU 86-89, although the nicer Jeans did
eventually become allowed.

Angharat

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Date: Mon, 6 Jan 2003 15:12:32 -0500
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<<<Certainly - you've got to love them when it comes down to it.Because 
without them we wouldn't have got here.>>>

        In spite of a lot of prudish talk, the Victorians managed to
produce another generation themselves.  Amazing how much goes on behind
closed doors. 

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Mon, 06 Jan 2003 12:55:37 -0700
Status: RO

on 1/6/03 10:30 AM, Elizabeth Young at lizyoung@fenris.net wrote:

>> 
>> 
> What is a dual feed foot? Is it the same as a walking foot? If so, then
> the higher-end Berninas include it.

No, it's not the same.  I tried bernina's walking foot and it didn't perform
as well for me on pvc.

Sylvia

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Date: Mon, 6 Jan 2003 12:24:13 -0800
Status: RO

On Mon, 6 Jan 2003 12:09:52 -0800 (PST) "Angharad ver' Reynulf"
<dragonwolfcat@yahoo.com> writes:
> 
> 
> > This is interesting.  I attented BYU from 1982-83
> > just when women were
> > allowed to wear jeans to class but most of the
> > editorials and cartoons were
> > still around for me to read about the event and I
> > discussed it with a number
> > of people who were there.  But I remembered the
> > story in terms of my own
> > concerns, that is, whether or not I would be able to
> > wear jeans.  Wow!
> > 
> > Lisa
> 
> 
> Lisa,
> 
> They still weren't accepting Jeans or sweatpants when
> I was at BYU 86-89, although the nicer Jeans did
> eventually become allowed.
> 
> Angharat

Yeah, but the GUYS could wear them.  Figure that one out!  LOL!

LuAnn who is definitely feeling old....  :-P
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Date: Mon, 6 Jan 2003 21:31:59 +0000
Status: RO


On Monday, January 6, 2003, at 08:12  pm, Lalah T Tillinghast wrote:

>         In spite of a lot of prudish talk, the Victorians managed to
> produce another generation themselves.  Amazing how much goes on behind
> closed doors.

Growing up in an Edwardian household those victorians have a lot to 
answer for.

Marcus.

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Date: Mon, 6 Jan 2003 12:46:23 -0800
Status: RO

Well that puzzles me, as the ability to wear jeans was a criteria for me to
even consider the school and jeans I definitely wore!  Nice ones though.
They also had a rule there that men had to wear sox with their shoes and
topsiders or deck shoes, I can't remember the term, were in style and needed
to be worn without sox in order not to look daggy.  This dorm mate of mine
was at BYU because that was the only school her parents were willing to pay
for and in retaliation or to vent her frustration, she occupied her time
reporting soxless men to university standards. First time offenders received
official letters in the mail, not sure what happend to repeat offenders.

Lisa


----- Original Message -----
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 12:09 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


>
>
> > This is interesting.  I attented BYU from 1982-83
> > just when women were
> > allowed to wear jeans to class but most of the
> > editorials and cartoons were
> > still around for me to read about the event and I
> > discussed it with a number
> > of people who were there.  But I remembered the
> > story in terms of my own
> > concerns, that is, whether or not I would be able to
> > wear jeans.  Wow!
> >
> > Lisa
>
>
> Lisa,
>
> They still weren't accepting Jeans or sweatpants when
> I was at BYU 86-89, although the nicer Jeans did
> eventually become allowed.
>
> Angharat
>
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Date: Mon, 6 Jan 2003 12:52:47 -0800
Status: RO

I think the rules changed to allow denim pants for women, which meant jeans
to me, nice ones, the term "jeans" may not have been used.

Lisa


----- Original Message -----
From: <luann.mason@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Monday, January 06, 2003 12:24 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


> On Mon, 6 Jan 2003 12:09:52 -0800 (PST) "Angharad ver' Reynulf"
> <dragonwolfcat@yahoo.com> writes:
> >
> >
> > > This is interesting.  I attented BYU from 1982-83
> > > just when women were
> > > allowed to wear jeans to class but most of the
> > > editorials and cartoons were
> > > still around for me to read about the event and I
> > > discussed it with a number
> > > of people who were there.  But I remembered the
> > > story in terms of my own
> > > concerns, that is, whether or not I would be able to
> > > wear jeans.  Wow!
> > >
> > > Lisa
> >
> >
> > Lisa,
> >
> > They still weren't accepting Jeans or sweatpants when
> > I was at BYU 86-89, although the nicer Jeans did
> > eventually become allowed.
> >
> > Angharat
>
> Yeah, but the GUYS could wear them.  Figure that one out!  LOL!
>
> LuAnn who is definitely feeling old....  :-P
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-admin@indra.com  Mon Jan  6 15:48:35 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Busts & Prudes/Woodcuts
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Date: Mon, 6 Jan 2003 14:59:16 -0600 (CST)
Status: RO


On Mon, 6 Jan 2003, marcus findlay-arthur wrote:

> > The intact woodcut I've seen
> > was of a woman serving dinner to her husband and the minister.
> 
> The one I saw was of a woman on horseback circa 16teens at the latest 
> and she had a traveling companion either a groom or escort of some 
> sort.All I could think of was 'hey,isn't that hell bouncing around on a 
> horse for hours untold,not to mention the chill factor?'
> (And Robin this woodcut was featured in that book with the Gates of Hell 
> paragraph.)

One more good reason to find it someday :-)

I have a copy of a promo brochure from the National Gallery in Washington
from 2/91, when they had an exhibit up called (I think) "Eva/Ave" or
something like that. The cover image is an engraving showing a woman
beating her husband. Her nipples are showing over the very low plastron in
her V-necked dress, which has several other unusual elements (a draped
sash-like thing over the shoulders, and a wide side opening with lacing!)
that suggest some allegorical overtones. The man's cote is lovely, though.
The woodcut is cited to Israhel van Meckenem, "The Angry Wife" (detail),
from the "Scenes of Daily Life" series, c. 1495/1503. I probably have the
entire exhibit catalog somewhere; if there's interest, I'll dig it out and
see what it says about exposed bosoms.

--Robin

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Thread-Topic: Citing a source for a translation
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Date: Mon, 6 Jan 2003 12:49:02 -0800
Status: RO

Hi everyone,

I recently did a translation of the relevant section of Levi-Pisetzky's _Storia del Costume in Italia_ and I was wondering if I need to cite the online site that I used to help with the translation for my documentation.

I'm using the MLA format and I couldn't find anything specifically relating to this in my handbook.

For the information that I used from my translation, I'm referring back to Levi-Pisetzky.

Thanks!

Colleen


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From h-costume-admin@indra.com  Mon Jan  6 16:01:45 2003
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Date: Mon, 6 Jan 2003 15:13:25 -0600 (CST)
Status: RO


I saw this on another list. Those who do 17th c. living history already
know Pepys as a great first-person source. This sounds like a fun way to
get familiar with the text...

-----

>From the folks at WhatIs.com:

http://searchwebservices.techtarget.com/sDefinition/0,,sid26_gci872171,00.ht
ml

The famous diary that Samuel Pepys (pronounced PEEPS), once the head
of England's Navy, kept during the years 1660-1669 is being made
available online in the form of a weblog. Phil Gyford, who conceived
the idea, is converting the diary, which was already in electronic
form as part of Project Gutenberg, into weblog format using software
called Movable Type. He added Pepys' entry for January 1, 1660 on
January 1, 2003, and is adding a new entry each day. In its current
form, Pepys' weblog allows a reader to create a public annotation,
asking or answering a question or perhaps explaining some now obscure
17th century term that Pepys uses. The weblog site includes an
overview and other historical background. Hypertext links are
provided where Pepys mentions historical events and specific people.


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Date: Mon, 6 Jan 2003 22:18:10 +0000
Status: RO

Oh thats niffty!!!
Thanks Robin.

Marcus.

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Date: Mon, 6 Jan 2003 09:15:00 -0800
Status: RO

At 1:33 PM +1300 1/5/03, Jennifer Geard wrote:

>
>Direction of spin is particularly important in shadow weaves, which have
>stripes made from bands of S- and Z-twisted threads. Although they're
>the same colour, the light reflects on them differently, giving subtle
>variation. Margrethe Hald's "Ancient Danish textiles from bogs and
>burials" has a fair amount of discussion of twist -- including mixed
>twist -- in her chapters on raw-materials-and-spinning, dating weaves
>and looms-and-fabrics. The fabrics she examines seem to have all the
>combinations of twists, although some are preferred at different times.

I'm in the (long) middle of a project of this type -- and for all 
that I have a bit of a reputation for "from the ground up" projects, 
the _only_ reason I'm spinning all the thread for my shadow weave 
project is because it's the only way I can get otherwise-identical S- 
and Z-twisted thread.

And that's another thread (if you'll forgive me) that sometimes goes 
into the "make it from scratch" philosophy -- not that a historic 
craftsperson would have created all their materials from scratch, but 
because sometimes if you want the most authentic materials, it's the 
only way to get them.

Heather
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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 6 Jan 2003 09:21:00 -0800
Status: RO

At 8:01 PM -0500 1/4/03, Ron Carnegie wrote:
>At 12:04 PM 1/4/03 -0800, you wrote:
>
>>>         Just as a note, most scholars in linguistics say the Appalachians
>>>is the place to pick up Elizabethan English, not England because of the
>>>isolation.  There are a series of books called the Foxfire books that
>>>depict daily life, customs, and crafts of the region.  I would expect
>>>that they are probably closer to English middle ages than most also.  The
>>>region is being overrun and no where is really isolated now, but the
>>>books were written some thirty to fifty years ago and mostly from
>>>interviews with the older inhabitants.  I just thought about them when
>>>this thread came up and am going to go check mine out as soon as I get
>>>off the computer.
>
>   Actually there is a lot of disagreement amongst Linguistic 
>Scholars on this subject.  Some have said the Appalachians, others 
>have said Tangier Island, yet another group states it is North 
>Carolina and not Virginia at all.

And others point out that _all_ language changes over time.  There's 
no logical reason to expect that speakers in some location, even a 
culturally isolated one, would speak in a frozen time-warp.

Heather
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hrjones@socrates.berkeley.edu
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 6 Jan 2003 09:29:40 -0800
Status: RO

At 10:17 AM -0700 1/5/03, Sue Clemenger wrote:
>kat@grendal.rain.com wrote:
>>
>>  Cathy wrote:
>>  > I thought that it varied by fiber, with wool more likely to be S-spun,
>>  > flax (linen) to be Z-spun.
>>
>>  It varies by vegetable fibre (such as linen, ramie, hemp, nettle)
>>  because plants have their own "direction of spin", but the wool can
>>  be spun either direction. (With the most common direction varying
>>  based on factors like the introduction of new technology such as the
>  > wheel and what the predominant vegetable fibre is for that area.)

>What about silk, though?
>--sue
>

A significant amount of woven silk thread in the medieval period (I'm 
less familiar with later periods) wasn't really "spun" in any 
meaningful sense of the word.  The bundle of continuous fibers that 
operated together as a thread might be given an extremely slight 
twist (either as a by-product of the reeling process or perhaps 
intentionally to make it easier to manage), but structurally 
speaking, the twist would be negligible.  This is one of the 
differences that makes it difficult to find commercial silk fabrics 
today that behave similarly to medieval silks (even setting aside the 
question of brocade patterns!), because spun silks are more the 
default now.  I'd have to check my books to see if there was a 
consistent pattern in the twist, although I wouldn't be surprised.

Heather
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] spinning
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Date: Mon, 6 Jan 2003 09:51:05 -0800
Status: RO

At 8:26 AM -0800 1/5/03, Tania Gruning wrote:
>I have been following the authenticity discussion and I have gotten 
>the inclination to try an learn how to spin. As I have very little 
>space it will have to be on a spindle and since I break out from 
>lanolin, I have to do linen.
>
>My question. Is it best to start with a teacher? Where can you get 
>hold of linen line?

I personally would not advise someone to _learn_ on linen -- it's a 
much less forgiving fiber than animal fibers tend to be, and the 
usual spinning method (involving damping the thread as you spin it) 
adds yet another layer of action to the three or four you're already 
trying to coordinate simultaneously.  If you do start on linen, I'd 
definitely advise having a teacher rather than trying to figure it 
out for yourself.

There are a lot of practical reasons for learning the basic 
techniques on wool, and it should be possible to find processed wool 
that has had the lanolin removed, but a lot would depend on the level 
of your sensitivity.  You might consider starting on cotton rather 
than linen -- the shorter, fluffier fibers put it in the "more 
forgiving" category with wool.

You mention using a spindle rather than a wheel for space 
considerations, but even if that weren't an issue, I'd tend to advise 
starting on a spindle before trying a wheel.  The spindle gives you a 
lot more control over precisely what you're doing and lets you start 
out be separating the various actions more (e.g., you can put twist 
into the existing thread and then draw out new thread as separate 
actions until you're comfortable doing both at the same time). 
Spindles give you a much more hands-on sense of the physics of 
spinning and help you understand to process and its variants better.

Heather
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Date: Mon, 6 Jan 2003 17:22:36 -0500
Status: RO

When I was in grade school (1986-1993, or somewhere around that), we had a
uniform, but on special days we could wear "real" clothing, including jeans,
just NOT BLUE jeans :-)

> I think the rules changed to allow denim pants for women, which meant
jeans
> to me, nice ones, the term "jeans" may not have been used.
>
> Lisa
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Date: Mon, 6 Jan 2003 15:13:43 -0800
Status: RO

Now that I think about it, the arguement at the time was that denim was now
a general fashion fabric and just because you wore it didn't mean you wanted
to overthrow the establishment.  That was accepted by the school. I think I
used to wear Liz Claiborne jeans to class or something similar, never got in
trouble.  Designer jeans were the rage then.  I also remember the guys could
were jeans rule, but with denim pants I felt on an equal footing.  Plus, I
didn't have to wear sox!!!  So I felt like I had the upper hand!!

Lisa

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 2:22 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


> When I was in grade school (1986-1993, or somewhere around that), we had a
> uniform, but on special days we could wear "real" clothing, including
jeans,
> just NOT BLUE jeans :-)
>
> > I think the rules changed to allow denim pants for women, which meant
> jeans
> > to me, nice ones, the term "jeans" may not have been used.
> >
> > Lisa
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Mon Jan  6 19:57:43 2003
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: RE: [h-cost] Italian coif question (was Authenticity-questions to ponder)
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Date: Tue, 7 Jan 2003 11:58:33 +1100 (EST)
Status: RO

 --- Talia <khanson@kc.rr.com> wrote: 
> I don't know...that doesn't look like a coif to me,
> but rather more of a
> reta...?
<http://au.geocities.com/bella_lucia_da_verona/CarpaccioBetrothed.JPG>


I don't know too much about the reta, however, using
the reta on Lynn McMaster's page as a guide, this coif
differs from the reta in that 1. the reta is worn
further back on the head and is held in place by means
of a ribbon/cord circlet around the forehead/back of
head, 2. the reta does not smoothly hug the back of
the head and tie under the chin, and finally 3. the
reta is made by cris-crossing cords/ribbons to make a
net - there is none such visible on the lady in the
above painting.



Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Date: Mon, 06 Jan 2003 17:17:47 -0800
Status: RO

At 03:13 PM 01/06/2003 -0800, Lisa Sinervo wrote:
>Now that I think about it, the arguement at the time was that denim was now
>a general fashion fabric and just because you wore it didn't mean you wanted
>to overthrow the establishment.  

LOL!  in the late 70's I worked at a department store where the rule was,
you couldn't wear just jeans, but a coordinated denim pants outfit was
okay.  I had a pair of denim pants/jeans that had an asinine little bib
thingy that buttoned on, for an overalls sort of effect.  With the bib, the
pants were okay with my supervisor, without it, I was wearing JEANS and
that couldn't be condoned.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Historic blog?
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Date: Mon, 6 Jan 2003 18:49:57 -0700
Status: RO

What a great idea-thanks for sharing.  I never knew how to pronounce his
name before this!

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Robin Netherton
>Sent: Monday, January 06, 2003 2:13 PM
>To: Historic Costume List
>Subject: [h-cost] Historic blog?
>
>
>I saw this on another list. Those who do 17th c. living history already
>know Pepys as a great first-person source. This sounds like a fun way
to
>get familiar with the text...
>
>-----
>
>>From the folks at WhatIs.com:
>
>http://searchwebservices.techtarget.com/sDefinition/0,,sid26_gci872171,
00.ht
>ml
>
>The famous diary that Samuel Pepys (pronounced PEEPS), once the head
>of England's Navy, kept during the years 1660-1669 is being made
>available online in the form of a weblog. Phil Gyford, who conceived
>the idea, is converting the diary, which was already in electronic
>form as part of Project Gutenberg, into weblog format using software
>called Movable Type. He added Pepys' entry for January 1, 1660 on
>January 1, 2003, and is adding a new entry each day. In its current
>form, Pepys' weblog allows a reader to create a public annotation,
>asking or answering a question or perhaps explaining some now obscure
>17th century term that Pepys uses. The weblog site includes an
>overview and other historical background. Hypertext links are
>provided where Pepys mentions historical events and specific people.
>
>
>_______________________________________________
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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 6 Jan 2003 17:50:10 -0800
Status: RO

At 1:47 PM -0500 1/5/03, Catherine Olanich Raymond wrote:
>I have never heard anyone *in* the SCA express the believe that SCA is a
>living history group (in fact, I have no idea exactly how the SCA classifies
>itself).  However, non-members get that impression and say things to that
>effect.

I think it's largely a terminology problem -- there was a recent 
discussion of this on a historical re-enactment list I belong to.

It arises, I think, because some people use several terms more or 
less interchangeably, including "re-creation", "recreation" (yes, 
those two are different), "re-enactment", "living history", and so 
forth.

Others define each term separately and mean something distinctly 
different by each one.

In the general sense, the SCA and Renaissance faires are the biggest 
and most typical "historical hobby" (for lack of a better term) 
organizations in the U.S. Both embrace a very broad range of people, 
and have usually been described in my experience as "recreation" -- 
which seems to be the broadest term, meaning whatever bits of history 
people want to do for fun-and-educational-value. Both include in 
their ranks people doing serious historical research, people who are 
there to party, people in love with the romance of history, people 
who are there because their friends are, people who want to be 
creative, and every degree, variation and combination of the above.

People who don't differentiate among the terms I've mentioned above, 
or who define them differently, may describe their participation in 
Faire or the SCA by any term they please. I've heard "living 
history," for example, used to describe Faire, because the term is 
often defined as a demonstration of historical dress, crafts, skills, 
lifestyle etc. for a non-participating public, as is done to 
different degrees at historic sites.

I've also noticed an increasing trend in recent years for those 
people who are trying to do academic-style historical research in 
these organizations to try to find some other term to refer to 
themselves. "Re-enactment" is the one I hear most often, probably 
because in the U.S. it's the term used by many American Civil War and 
Revolutionary War organizations, who aim for as much authenticity as 
they see possible, and also by many of the European historical 
groups, which tend to be smaller, less diverse and to have similar 
authenticity standards.

Also, for anyone who also moves in academic historical circles -- as 
a small, but increasing number of us do -- "re-enactment" seems to be 
a term that academics recognize and are willing to respect. Due to 
their diversity and, um, widely varying degrees of seriousness <g>, 
admitting to an SCA or Faire background doesn't exactly give you a 
good academic reputation.

(I think it's kind of an open secret by now that the DISTAFF sessions 
on textiles at the International Congress for Medieval Studies in 
Kalamazoo each year, which are run by our very own Robin Netherton, 
have a large majority of their papers presented by researchers who 
are also SCA Laurels. There's also a new track of hands-on 
calligraphy classes this year, sponsored by the Cistercian Studies 
people, featuring two SCA Laurels as the instructors.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] historical spinning
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Date: Mon, 6 Jan 2003 17:45:13 -0800
Status: RO

At 9:02 AM -0800 1/6/03, kat@grendal.rain.com wrote:
>Another thing is that men tend to be the ones (with a few exceptions
>such as Anguissola and Terlinc) painting the pictures and
>manuscripts. And while they may be good at figuring out what the
>thing looks like if it is right in front of them and remember
>somewhat how the person was standing and holding their hands, you
>can't depend on it for documentation of how the thing was done. I
>still remember the woman to whom I was apprenticed pointing out the
>looms in several paintings where they were missing essential pieces
>for that particular type of loom. In other words, you can't take the
>pictures as evidence of how they were used. (It's better to go to the
>textiles themselves.)

I used to have a copy of the front cover of an old (i.e. 1920s or 
'30s) issue of a needlework magazine that had a picture of a pretty, 
smiling young woman sitting at a spinning wheel.

You could easily trace the path of the fiber. It went from the 
spinning wheel's distaff, to the fingers of the young lady's extended 
left hand, across to her right hand, and down to the DROP SPINDLE 
dangling from her hand!

I have no idea what the artist thought the spinning wheel was in the 
picture for! It was drawn, IIRC, with a sloping table, a large wheel, 
a treadle, and some undefined woody bits sticking up in a very 
disorganized fashion where the spindle should be.....

(wrong, wrong, WRONG!!!) <g>
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Authenticity Good & Bad
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Date: Mon, 6 Jan 2003 17:52:32 -0800
Status: RO

By the way, I wish there were a way to counteract the tendency to 
equate authenticity with morality -- with more authenticity attached 
to notions of "goodness", sainthood, and virtue <grin> and less 
authenticity equated with "badness" or sinfulness.

I think this tendency is probably THE major factor that I see 
discouraging beginners in our needleworkers' guild. I can't tell you 
how many people bring things to our "show and tell" and the first 
words out of their mouths are, "I know this isn't very authentic, 
but...." in tones ranging from the mildly apologetic to the seriously 
guilty and ashamed.

Having not a lot of self-confidence to begin with, a lot of them seem 
to be afraid to try a new project or technique, for fear that someone 
will "pounce" upon them for anything they do "wrong" (i.e. less 
authentically) and make them look "bad" in front of others.

(In reality, of course, authenticity has no moral or "right or wrong" 
attached to it -- except in the very limited sense that if you have 
set it as your goal, or if it's a goal of the organization you belong 
to, meeting it is "good" and not meeting it isn't. But really, it 
just is not worth the kind of angst and agony that I see all too 
often being devoted to it.)

I think this kind of attitude of having to be "right" in order to be 
seen as a good person (:-/) is also behind a lot of fervent attempts 
to "document" materials and techniques that are clearly not typical 
or available  -- we recently went through a discussion on the 
H-Needlework list about cotton in  16th-century England, and I think 
it is because someone was trying to document that the cotton 
embroidery floss in her project "could have been" used in that 
period. (The consensus was, BTW, that this was highly unlikely -- 
although  cotton cloth and stuffing were not unknown.)

I'd much rather see someone in that situation say, "In period they 
would have used silk, but I used cotton because it's what I had 
available" (or it's what I could afford, or it came in the right 
colors, or it has to be machine washable, or whatever the reason was).
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] authenticity/idiotically unsuitable
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Date: Mon, 6 Jan 2003 21:35:42 -0500
Status: RO

On Monday 06 January 2003 12:50 am, Robin Netherton wrote:
> On Sun, 5 Jan 2003 kat@grendal.rain.com wrote:
[text cut here]
> I remember Ann Landers "settling" an argument about whether one should
> wear underwear with pantyhose by saying that the name pantyhose itself
> implied that the panties were included, so no other underwear was needed.
> That was back when the top part of the pantyhose really looked like a
> panty. This soon gave way to the version that was essentially transparent
> nylon all over, requiring panties if you wanted any coverage, but these
> had a "cotton crotch" that suggested that panties were not expected to be
> worn.

I suppose.  Though I have always worn panties with pantyhose--even when the 
pantyhose had a "panty"like top and a cotton crotch.  I always felt naked 
with just the pantyhose on....


> And for many years after the adhesive pads were standard, bathroom
> machines still sold the garter-belt version ... with the usual two safety
> pins in the box to hold them in the panties.

I owned a device to hold the non-adhesive pads.  It was horrible to use--the 
pad always twisted, or migrated forward or backward to where it did the least 
good.



-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Subject: Re: [h-cost] authenticity
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Date: Mon, 6 Jan 2003 21:31:32 -0500
Status: RO

On Monday 06 January 2003 02:10 pm, Lalah T Tillinghast wrote:
> <<<.  (Yes, panty
> hose were available to us in the mid-60s, but they cost as much as a pair
>
> of shoes did, and I couldn't afford them.)>>>
>
>         And the early ones bagged around the ankles every time you sat
> down.

I remember that--but at the time I thought it was because of something *I* was 
doing wrong!

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Mon, 6 Jan 2003 19:15:01 -0800
Status: RO


----- Original Message -----
From: "Chris Laning" <claning@igc.org>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 5:52 PM
Subject: [h-cost] Authenticity Good & Bad


> By the way, I wish there were a way to counteract the tendency to
> equate authenticity with morality -- with more authenticity attached
> to notions of "goodness", sainthood, and virtue <grin> and less
> authenticity equated with "badness" or sinfulness.
>

I totally agree.  People are involved in this activity for a variety of
reasons and achieve a variety of results that many are happy with without
having someone tell that they have no right to be satisfied with their
achievements.

Lisa


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Date: Mon, 06 Jan 2003 20:12:37 -0700
Status: RO

Daggy?
--sue

Lisa Sinervo wrote:
> 
> Well that puzzles me, as the ability to wear jeans was a criteria for me to
> even consider the school and jeans I definitely wore!  Nice ones though.
> They also had a rule there that men had to wear sox with their shoes and
> topsiders or deck shoes, I can't remember the term, were in style and needed
> to be worn without sox in order not to look daggy.
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Date: Tue, 07 Jan 2003 01:49:06 +0000
Status: RO

This I have to respond to - after having done the research, I have to say 
that I have yet to find a wool fabric light enough for me to wear in 
temperatures over 50 degrees F - with or without a cotton underitem. People 
keep telling me it's do-able, and I keep sinking my money into wool 
garments, but it just hasn't changed. I just end up feeling cranky and sick 
at the end of the attempt.

(and BTW - my first experiences with wool were when I was a child in Ohio 
and didn't use/need antiperspirants.)

Mary/Katerine
(who believes there is no winter in Central Texas - there's just a short 
period of tolerable temperatures between late Nov and mid March.)

> > Actually, if those are wool suits and cotton shirts/unders, it's a
> > good "air conditioning" system all its own... I wear similar layers in
> > wool, in the summer, for mid-19thc stuff, and your body adapts.  You
> > sweat, yes, but the cotton absorbs that, and then the wool wicks it
> > away, and you stay fairly comfortable.  Even today,
> > summer-weight/tropical weight wool suiting is lighter than many
> > cottons! Anti-perspirant interferes greatly though, by inhibiting the
> > ability to sweat, and therefore, stalemating the evaporative cooling.
> > But otherwise, its a functional, intuitive system... when viewed from
> > historic eyes.
>
>But to someone used to polyester suits and shirts, they would
>"intuitively" think (from a modern viewpoint) that what you are
>saying (which those of us who've done the research or lived through
>it know is correct) is not possible.
>
>Also, if someone has not lived for prolonged periods without
>airconditioning (other than swamp coolers which only work when it is
>not humid) they will, by their "modern intuitive" thinking, also
>think it's not possible that men would have worn those suits all day
>long. They'd probably think that they took off the jacket and vest at
>the very least. (Well, we know the clerks in the backroom did, but
>not the bankers and business men.)
>
>Kat Russell
><kat@grendal.rain.com>
>
>_______________________________________________
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From h-costume-admin@indra.com  Mon Jan  6 22:26:42 2003
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Authenticity Good & Bad
To: h-costume@indra.com
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Date: Tue, 7 Jan 2003 14:27:01 +1100 (EST)
Status: RO

 --- Lisa Sinervo <lisa-list@threadneedlest.com>
wrote: > 
> ----- Original Message -----
> From: "Chris Laning" <claning@igc.org>
> To: <h-costume@indra.com>
> Sent: Monday, January 06, 2003 5:52 PM
> Subject: [h-cost] Authenticity Good & Bad
> 
> 
> > By the way, I wish there were a way to counteract
> the tendency to
> > equate authenticity with morality -- with more
> authenticity attached
> > to notions of "goodness", sainthood, and virtue
> <grin> and less
> > authenticity equated with "badness" or sinfulness.
> >
> 
> I totally agree.  People are involved in this
> activity for a variety of
> reasons and achieve a variety of results that many
> are happy with without
> having someone tell that they have no right to be
> satisfied with their
> achievements.


I see evidence of this most often when discussing
"period" fabric for later period. I use 100% cotton
for comfort if at all possible. I've used it in velvet
and velveteen, as well as drill for camp/outdoor wear.
But in patterned fabrics I use poly/cotton brocades. I
can't find pure cotton brocade, let alone with a
suitable pattern, and even if I could I wouldn't be
able to afford it, let alone silk. 

I know that in period I would have been wearing silk
brocade. But I have heard it suggested to myself and
others that I need not use brocade at all, that I
could choose to use a plain linen (the rationale being
that linen is more "period" than poly/cotton, which of
course it is as far as fibre goes). To which I usually
reply that I have not found any evidence that linen
was used for outerwear until after the SCA period, and
what if I don't want to use a plain fabric, what if I
want a patterned one? Do you know what the reply was?
Well, you could always choose to portray someone of a
lower social standing. Basically, if I can't afford to
use silk brocade I should stay in my "place". Bah!



Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: Re: [h-cost] Italian coif question (was Authenticity-questions to ponder)
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Date: Mon, 6 Jan 2003 19:17:50 -0800
Status: RO

What's the difference between a reta and a coif? What's a reta?

Arlys

On Tue, 7 Jan 2003 11:58:33 +1100 (EST) =?iso-8859-1?q?Bella?=
<bella_lucia_da_verona@yahoo.com.au> writes:
>  --- Talia <khanson@kc.rr.com> wrote: 
> > I don't know...that doesn't look like a coif to me,
> > but rather more of a
> > reta...?
> <http://au.geocities.com/bella_lucia_da_verona/CarpaccioBetrothed.JPG>
> 
> 
> I don't know too much about the reta, however, using
> the reta on Lynn McMaster's page as a guide, this coif
> differs from the reta in that 1. the reta is worn
> further back on the head and is held in place by means
> of a ribbon/cord circlet around the forehead/back of
> head, 2. the reta does not smoothly hug the back of
> the head and tie under the chin, and finally 3. the
> reta is made by cris-crossing cords/ribbons to make a
> net - there is none such visible on the lady in the
> above painting.
> 
> 
> 
> Bella
> 
> http://movies.yahoo.com.au - Yahoo! Movies
> - What's on at your local cinema?
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Mon, 06 Jan 2003 20:34:17 -0700
Status: RO

They did a good bit on this same thing on NPR-Sunday,
yesterday....Really a nifty idea. IIRC, the gentleman being interviewed
said he figured it'd be a good way to make the diaries more accessible,
since most people would find reading all six volumes a bit...daunting.
--sue

Robin Netherton wrote:
> 
> I saw this on another list. Those who do 17th c. living history already
> know Pepys as a great first-person source. This sounds like a fun way to
> get familiar with the text...
> 
> -----
> 
> >From the folks at WhatIs.com:
> 
> http://searchwebservices.techtarget.com/sDefinition/0,,sid26_gci872171,00.ht
> ml
> 
> The famous diary that Samuel Pepys (pronounced PEEPS), once the head
> of England's Navy, kept during the years 1660-1669 is being made
> available online in the form of a weblog. Phil Gyford, who conceived
> the idea, is converting the diary, which was already in electronic
> form as part of Project Gutenberg, into weblog format using software
> called Movable Type. He added Pepys' entry for January 1, 1660 on
> January 1, 2003, and is adding a new entry each day. In its current
> form, Pepys' weblog allows a reader to create a public annotation,
> asking or answering a question or perhaps explaining some now obscure
> 17th century term that Pepys uses. The weblog site includes an
> overview and other historical background. Hypertext links are
> provided where Pepys mentions historical events and specific people.
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From: kat@grendal.rain.com
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Date: Mon, 06 Jan 2003 19:40:32 -0800
Status: RO


> > > We should collect examples of all the idiotically unsuitable
> > > things we've worn over the years!  It will give costume historians
> > > of the future a good laugh.
> >
> >Ooo, you mean like 3 piece suits (jacket, vest and pants, with shirt
> >and undershirt) worn by men in unairconditioned business offices in
> >the 1950s and before?
> 
> You omitted the useful necktie.

Ooops. You are soooo right!

Kat Russell
<kat@grendal.rain.com>

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Italian coif question (was Authenticity-questions to ponder)
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Date: Tue, 7 Jan 2003 14:50:47 +1100 (EST)
Status: RO

 --- Cynthia J Ley <cley@juno.com> wrote: 
> What's the difference between a reta and a coif?
> What's a reta?


This is a reta:
<http://lynnmcmasters.com/miditalianheadress2.html>
and
<http://www2.kumc.edu/itc/staff/rknight/coif1.htm>



Bella


http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 6 Jan 2003 22:21:28 -0600 (CST)
Status: RO


On Mon, 6 Jan 2003, Chris Laning wrote:

> (I think it's kind of an open secret by now that the DISTAFF sessions
> on textiles at the International Congress for Medieval Studies in
> Kalamazoo each year, which are run by our very own Robin Netherton,
> have a large majority of their papers presented by researchers who are
> also SCA Laurels.

Well, I wouldn't say "large majority," but I'd guess half or a bit more of
the DISTAFF papers in recent years have come from SCA people. It just
seems like more because they're the coolest papers, with the fun hands-on
examples and live reproductions, that people are likely to remember. ;-)

And not all of the SCA people who present for us are Laurels, though I
haven't counted, and frankly wouldn't know which ones are. I don't pay
much attention to SCA ranks; I look for people who are operating on an
academic level, which doesn't always equate to SCA recognition.

Let me do a quick count ... In the last five years, we've had 36 paper
presenters, counting some people twice because they've presented twice in
that time (and not counting our roundtable leaders last year). Of these,
19 were active SCA members and 17 were not. Four of the non-SCA presenters
(including me) were at one time in the SCA, though in most cases in the
very distant past.

Most of the SCA people who present for DISTAFF find us either via direct
contact with me or another DISTAFF presenter, or because they've come to
Kalamazoo and attended our sessions. Most of the non-SCA academics come to
us through direct contact with my co-organizer, Gale Owen-Crocker, or
because they're already hoping to submit a paper for the conference and
they're looking for a track suitable for a presentation on a dress/textile
topic. For instance, this year, after our sessions filled, I got proposals
from two non-SCA academics who approached DISTAFF after seeing us listed
in the call for papers; I sent them to another organizer looking to put
together a costume-themed session, thus filling that session.

Re-enactment makes a fertile breeding ground for textile/dress presenters
because costume is such a popular area of work for re-enactors, but there
isn't much place for this area of research in academia, so people who are
interested in the topic often wind up pursuing it through a re-enactment
group. We've pulled people from other re-enactment groups besides the SCA,
though there aren't that many groups in the U.S. doing medieval. I suppose
you can say we "cherry-pick" from the top rank of SCA and re-enactment
researchers -- the people who are doing academic-quality work but don't
already have a connection with academia. Their work deserves a wider
audience, and they may be looking for a way to take their work to the next
level.  DISTAFF and the Kalamazoo conference can provide the point of
crossover for them.

Still, I rarely approach people unless we've got a very specific gap to
fill -- e.g. when we had a Greenland session I asked Marc Carlson to fill
our third space, and when we had a session on non-woven textiles I
approached Ann Marie Decker, an SCA person known for naalbinding. Usually,
though, I wait for people to reach the point where they want to make the
leap and propose a paper.

It's also worth noting that many of our SCA presenters find their way to
DISTAFF sessions not because we pulled them out of the SCA, but because
they are already academics in their own right and coming to the conference
for professional reasons. These people come to our slate on the basis of
their academic work, not by what they happen to do as a hobby. Some of
them went into medieval studies after whetting their appetite in the SCA;
some of them found the SCA after they were doing medieval studies as
academics. I don't think any of them would point to their SCA work as any
sort of credential. But that's fine. The purpose of the SCA is not to
produce scholarly researchers. The fact that a few people find their way
into scholarly research via the SCA is a happy byproduct of the
organization, and more a reflection on those individuals' talent and
interests rather than anything that the organization expects from them. I
am very grateful that the SCA allows people the chance to come into
contact with the concept of medieval scholarship, and to consider whether
they'd like to pursue that on their own.

> There's also a new track of hands-on calligraphy classes this year,
> sponsored by the Cistercian Studies people, featuring two SCA Laurels
> as the instructors.)

Ah, that's nice! When I first came to K'zoo in the early 1980s, there were
some hands-on book arts sessions for several years (calligraphy,
bookbinding, papermaking, typecasting) run by a non-SCA academic. He
brought in absolutely stellar teachers, too, who did historic bookwork
professionally. I fear that 20 years ago, medieval academia was not as
accepting of the hands-on approach to research as it is now, and the
organizer of those sessions suffered in not being taken seriously.  
(Heaven forfend that someone might suggest that manuscript scholars might
actually gain a better understanding of manuscripts if they tried making
one themselves.) This was the atmosphere in which I first started
presenting papers on costume (and *in* costume, a very daring thing). I am
glad to report there has been a huge change since then. Every year now,
there are several high-profile sessions or events that involve
"experimental archaeology." Scholars have built and tested a trebuchet,
sailed a Viking longship on the campus pond, laid out a medieval cathedral
using cords and stakes, and watched swordsmanship demonstrations based on
medieval fighting manuals.

--Robin


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From: kat@grendal.rain.com
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Subject: Re: [h-cost] Authenticity Good & Bad
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Date: Mon, 06 Jan 2003 20:15:44 -0800
Status: RO


> I think this tendency is probably THE major factor that I see 
> discouraging beginners in our needleworkers' guild. I can't tell you
> how many people bring things to our "show and tell" and the first
> words out of their mouths are, "I know this isn't very authentic,
> but...." in tones ranging from the mildly apologetic to the seriously
> guilty and ashamed.
> 
> Having not a lot of self-confidence to begin with, a lot of them seem
> to be afraid to try a new project or technique, for fear that someone
> will "pounce" upon them for anything they do "wrong" (i.e. less
> authentically) and make them look "bad" in front of others.

Amen to that. I keep running into people telling others that they 
should *never* use Aida cloth. I usually step in and say "for 
goodness sake, go ahead and use it until you are sure of your 
stitching. It's an excellent learning tool and you will learn it more 
easily if you aren't trying to figure out patterns *and* how to get 
even stitches at the same time. Then, when you are more comfortable, 
try some of the even weave linen. It can be really fun if you aren't 
frustrated by the learning process." I also mention that I still work 
out some of my patterns on aida so that they are easier to see and I 
don't have to drag a piece of paper around with me. 

> (In reality, of course, authenticity has no moral or "right or wrong"
> attached to it -- except in the very limited sense that if you have
> set it as your goal, or if it's a goal of the organization you belong
> to, meeting it is "good" and not meeting it isn't. But really, it just
> is not worth the kind of angst and agony that I see all too often
> being devoted to it.)

And it is only important if it is important to *you*.

Far too often I see people doing the "holier than thou" routine. They 
turn even a simple learning thing into a competition. (It seems to go 
hand in hand with not wanting to teach or share information with 
others who have similar interests.)

> I think this kind of attitude of having to be "right" in order to be
> seen as a good person (:-/) is also behind a lot of fervent attempts
> to "document" materials and techniques that are clearly not typical or
> available  -- we recently went through a discussion on the
> H-Needlework list about cotton in  16th-century England, and I think
> it is because someone was trying to document that the cotton
> embroidery floss in her project "could have been" used in that period.
> (The consensus was, BTW, that this was highly unlikely -- although 
> cotton cloth and stuffing were not unknown.)

Ah, yes. Post-documentation for things already manufactured. I keep 
wondering how it is that people don't realize that it's much easier 
to do the documentation first, find your best sources of the stuff 
(or be able to say "not available so this was the best I could come 
up with") and *then* make it. Saves a lot of hassles of trying to 
document the undocumentable.

And if you can't document it, that doesn't mean you can't enjoy it. 
It just means that it isn't as suitable for a contest. And missing a 
contest is *not* the end of the world.
 
> I'd much rather see someone in that situation say, "In period they
> would have used silk, but I used cotton because it's what I had
> available" (or it's what I could afford, or it came in the right
> colors, or it has to be machine washable, or whatever the reason was).

Exactly!

Kat Russell
<kat@grendal.rain.com>

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Subject: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Mon, 06 Jan 2003 23:57:23 -0500
Status: RO

I'm a couple of years younger than the "no pants in school" set and a 
couple of years older than the "jeans have always been OK in school" set. 
The short and long of my pants-in-school story is:
--nursery school, yes, except on birthday-party days, graduation, or promotion;
--kindergarten, yes if your teacher allowed it (mine did);
--first through third grades, no;
--fourth grade, it kind of got slipped in by one girl;
--fifth grade, yes -- if it was something like a pants suit (long tunic and 
slacks), and hot pants were allowed when they became big in the spring of 
1971;
--sixth grade, the teacher complained about everything we wore;
--seventh grade and onwards, pants were OK. Jeans became acceptable around 
1973 or 1974, IIRC.

Now, there are a couple of quirks to *my* "appropriate to wear to school" 
experience:
--In ninth grade (1974-75), the Junior High principal forbad me to wear my 
*Girl Scout uniform* to school "because it's too militaristic". *sigh*
--In my senior year of high school (1977-1978), the principal forbad *me* 
wearing shorts to school, even though he let *every other girl* in the 
school wear them. It had nothing to do with my weight or my figure; it had 
to do with *him* thinking that as one of the school's top students (and 
having broken some new ground in those directions), I should "be above" 
wearing anything that, umm, displayed any flesh or provided any modicum of 
comfort during those late spring days of one's senior year...

Regarding *Margo's* jeans experience, I recall that in the mid-70's, there 
was a trend of wearing a coordinated wet set of beaded and/or embroidered 
jeans/denim-slacks with a matching man-tailored overshirts or shirt jacket. 
Grandpa was working in the juniors-wholesale industry at the time. Instead 
of bringing home normal blue jeans, he brought me these coordinated denim 
sets, in styles and designs geared for the twentysomething woman -- not the 
thirteen-year-old junior-high-schooler! OTOH, once I got some *real* blue 
jeans, I did spend several weekend afternoons embroidering them...

As far as impractical clothing of our times:
--the previously-mentioned "sizzler" skirts which were so short (shorter 
than micro-minis) that you needed matching/attached bikini panties under 
them for modesty;
--hot pants and hot-pant-legged jumpsuits (one of which nearly caused me a 
case of frostbite when the school's Late Bus never showed up);
--fish-net stockings;
--tank tops;
--nylon hosiery (IMNSHO the bane of almost every woman's professional 
existence!);
--high-heeled shoes;
--too-tiny-for-a-tube-of-lipstick handbags;
--the super-low-rise, over-sized, 
deliberately-falling-off-your-pelvis-and-exposing-your-underpants jeans 
some of the youth of the '90's wore all the time;
--ladies' clothes *without* *pockets*...


Brenda
webwarren@earthlink.net


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Date: Mon, 06 Jan 2003 17:33:23 -0500
Status: RO

Robin wrote:

>I have a copy of a promo brochure from the National Gallery in Washington 
>from 2/91, when they had an exhibit up called (I think) "Eva/Ave" or 
>something like that... I probably have the entire exhibit catalog 
>somewhere; if there's interest, I'll dig it out and
>see what it says about exposed bosoms.

Yes, it's "Eva/Ave", and I recently found the catalogue on a discount rack. 
If you can't find it, I'll be able to get to it Wednesday night when I'm 
back in New Jersey.

Brenda
webwarren@earthlink.net


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Date: Mon, 6 Jan 2003 21:12:23 -0800
Status: RO

> Bella wrote:

> I see evidence of this most often when discussing
> "period" fabric for later period. I use 100% cotton
> for comfort if at all possible. I've used it in velvet
> and velveteen, as well as drill for camp/outdoor wear.
> But in patterned fabrics I use poly/cotton brocades. I
> can't find pure cotton brocade, let alone with a
> suitable pattern, and even if I could I wouldn't be
> able to afford it, let alone silk.
>
> I know that in period I would have been wearing silk
> brocade. But I have heard it suggested to myself and
> others that I need not use brocade at all, that I
> could choose to use a plain linen (the rationale being
> that linen is more "period" than poly/cotton, which of
> course it is as far as fibre goes). To which I usually
> reply that I have not found any evidence that linen
> was used for outerwear until after the SCA period, and
> what if I don't want to use a plain fabric, what if I
> want a patterned one? Do you know what the reply was?
> Well, you could always choose to portray someone of a
> lower social standing. Basically, if I can't afford to
> use silk brocade I should stay in my "place". Bah!

I have a couple of viewpoints on this and can see this from a number of
angles.  My main background in the living history/costuming field is as an
event planner for a small museum.  I know how to run profitable historical
events. As the museum was an educational institution there was an obligation
and desire to make events we hosted as historically accurate as possible.
It also differentiated us from the competing medieval fayre in town so it
was a commercial imperative.

We PAID re-enactors, including the SCA, to perform at our Medieval
Tournament and had costume standards that sometimes differed from the
internal standards of the groups we employed.  We did encourage those who
could not afford to use natural fiber fabric for nobility (poly.cotton
brocade would have been fine if in a period motif), to choose a lesser
station in life to add authenticity to our event. But it was not from a
"moral" standpoint or to put anyone in their place.  It improved the overall
look of the event, ticket sales went up, and we paid the groups increasingly
more and bought more props  for the re-enactors to use.  Everyone benefited.
Standards were not implemented to put anyone in their place or to belittle
them.  We were putting on a show for a paying public and wanted to deliver
on providing a medieval experience to them.    But along with that, an
enormous amount of effort was given to assist in providing pattern drafting
knowledge, discount fabric, library access,  whatever we could do to provide
resources to participants we did.

The put downs you have described sound more like someone's ego trips than
concerns about standards, standards just happen to be the form they are
currently using to launch the assault, and the only thing option under those
circumstances is to be above it, don't let it get to you.  Laugh, sometimes
at yourself, occasionally at the other person.  A knight that looks like B1
from Banana's in Pajamas is funny but the person out there trying and having
fun is not a lesser being because of it and the person who thinks so is
laughable to me in another way.

Lisa










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Date: Tue, 7 Jan 2003 01:06:29 -0500
Status: RO

On Sunday 05 January 2003 10:23 pm, kat@grendal.rain.com wrote:
> > I joined the SCA in 1971, and I was not aware that the SCA considered
> > itself a living history group.  I get my living history elsewhere.
>
> It shows up along with Williamsburg, Plimoth, ACL groups and the like
> in the books devoted to Living History. 

Knowing what I do about SCA activities (some of which I have attended even 
though I've never been a member), this surprises me somewhat.


>Although there is a lot of
> fringe population in the SCA who prefer to play rather than study, it
> is chartered through the IRS as a non-profit educational group with
> their articles of incorporation stating:
> The purposes for which this corporation is formed include:
> (a) Research and education in the field of pre-17th-Century Western
> Culture.
> (b) Generally, to engage in research; publish material of relevance
> and interest to the field of pre-17th- Century Western Culture; to
> present activities and events which re-create the environment of said
> era, such as, but not limited to, tournaments, jousts, fairs, dances,
> classes, et cetera; to acquire authentic or reproduced replicas of
> chattels representative of said era; and to collect a library.

This description of the SCA's charter doesn't surprise me.  The key terms are, 
however, "engage in research" and "present activities and events which 
recreate the environment of said era".  The SCA does lots of activities which 
are components of living history, but the typical SCA event is *not* living 
history.  (No event that mingles Vikings with Elizabethan courtiers is  
"living history" in my books.)



> So, in spite of the people uninterested in the stated reason for the
> SCA, there are people like myself, Drea and others who do the
> research in this way. By definition it is a "living history" group.

See above.  I think of "living history" as limited to the groups that attempt 
to recreate personas and events from a specific and fairly narrow period.

Don't get me wrong.  I like the fact that SCA is not pure "living history."  
But I think that labeling it as living history (as you've demonstrated many 
people, including arguably the SCA itself, do) gives a mistaken impression 
about what SCA events are like.


> The parts I find most difficult to reconcile is the tolerance for the
> post 1600 Western Europe and all the Oriental and Central American
> personas which are tolerated. 

I have more problems with the time paradoxes than with the cultural breadth.  
It was possible (though probably very rare) for an African, Chinese, or 
Central Asian alive in 1550 to end up at the court of Elizabeth Tudor.  It is 
not, and never could have been possible, for Egil Skallagrimson to have a 
dinner conversation with Dr. John Dee.  

>However, it is set up as an inclusive
> group (with the hope that people will "grow" into the Western Culture
> part) 

Why?  I actually think that the SCA's expansion to include non-Western 
European cultures is a good thing.   Just because most Western Europeans, in 
(SCA) period, were unlikely ever to meet a non-Western European, does not 
mean that such creatures did not exist, and learning about them can enrich 
our understanding of what Western European culture was like.


>rather than an exclusive group where you just about have to be
> perfect before you can play at all.

I agree with this part.  :-)


> For many of us, the SCA has given us a venue where we can do the
> costume and costume research, and have a place to wear it and
> teach/learn about it, rather than sitting home without a social
> occasion to wear it.

I can relate to this.  

I usually wear my costumes at science fiction conventions (where nearly 
anything sartorial goes) or make costumes specifically for live action 
roleplaying events (an amazing number of which have been based on historical 
events to greater or lesser degrees).  But the SCA certainly supplies an 
excellent venue for the wearing of costume.

--
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Tue, 7 Jan 2003 01:10:31 -0500
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On Monday 06 January 2003 12:59 pm, Carolyn Kayta Barrows wrote:
> >So, in spite of the people uninterested in the stated reason for the
> >SCA, there are people like myself, Drea and others who do the
> >research in this way. By definition it is a "living history" group.
>
> But they don't think of themselves as a living history group, nor do they
> 'play' like a living history group.

Right.  That was my point.  The charter mentions recreation, but in the 
context of specific activities.

[text cut here]

> You forgot about the newcomer's organizations within the SCA, dedicated to
> helping clothe the newcomers and get them integrated into the SCA as easily
> as possible.  But most other living history groups have these too, if
> unofficially.

Judging by the comments I see on the Web sites of various recreation/living 
history groups, that's true.  

In addition, the SCA's minimum clothing requirement is very low.  "Perioid" is 
usually close enough, and people whose interests do not focus on historic 
costume don't exceed the minimum.


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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> 
> From: "Mary Temple" <noxcat@hotmail.com>
> Date: 2003/01/06 Mon PM 08:49:06 EST
> To: h-costume@indra.com
> Subject: Re: [h-cost] Re:Clothing Oddities
> 
> This I have to respond to - after having done the research, I have to say 
> that I have yet to find a wool fabric light enough for me to wear in 
> temperatures over 50 degrees F - with or without a cotton underitem. People 
> keep telling me it's do-able, and I keep sinking my money into wool 
> garments, but it just hasn't changed. I just end up feeling cranky and sick 
> at the end of the attempt.
> 

    Interesting, I consider 50 degrees f. cold.   Even now that I am on U.S. east coast.  I do wear wool in tempertures twice that accompanied by 90 to 100% humidity.  I don't tend to wear cotton under it though, I wear linen. To day I wasn't, nor was I wearing historic clothing, I would have been warmer if I had.  

Cheers,


R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Date: Tue, 7 Jan 2003 01:32:02 -0500
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On Monday 06 January 2003 08:50 pm, Chris Laning wrote:
> At 1:47 PM -0500 1/5/03, Catherine Olanich Raymond wrote:
> >I have never heard anyone *in* the SCA express the believe that SCA is a
> >living history group (in fact, I have no idea exactly how the SCA
> > classifies itself).  However, non-members get that impression and say
> > things to that effect.
>
> I think it's largely a terminology problem -- there was a recent
> discussion of this on a historical re-enactment list I belong to.

Believe it or not, I saw a recent discussion of the issue on larpa-gen; a list 
that discussed live action roleplaying games.  
>
> It arises, I think, because some people use several terms more or
> less interchangeably, including "re-creation", "recreation" (yes,
> those two are different),

Are they?  Unless you mean "recreation" in its primary role as "having 
fun...."


"re-enactment", "living history", and so
> forth.
>
> Others define each term separately and mean something distinctly
> different by each one.
>
> In the general sense, the SCA and Renaissance faires are the biggest
> and most typical "historical hobby" (for lack of a better term)

"Historical hobby" is at least unlikely to be confused with any of the other 
terms that have been applied to the SCA and to some of the SCA activities we 
are discussing.  


> organizations in the U.S. Both embrace a very broad range of people,
> and have usually been described in my experience as "recreation" --
> which seems to be the broadest term, meaning whatever bits of history
> people want to do for fun-and-educational-value.

I have never heard the term "recreation" used that way or specifically 
distinguished from "re-creation".  But what do I know?



> Both include in
> their ranks people doing serious historical research, people who are
> there to party, people in love with the romance of history, people
> who are there because their friends are, people who want to be
> creative, and every degree, variation and combination of the above.
>
> People who don't differentiate among the terms I've mentioned above,
> or who define them differently, may describe their participation in
> Faire or the SCA by any term they please. I've heard "living
> history," for example, used to describe Faire, because the term is
> often defined as a demonstration of historical dress, crafts, skills,
> lifestyle etc. for a non-participating public, as is done to
> different degrees at historic sites.

I've never been to a Ren Faire that made any pretense at "demonstating" 
historical dress craft or skills. However my experience in this regard is 
limited to the Pennsylvania Ren Faire, which is mostly run like a perioid 
theme park.  I understand that some Ren Faire are quite rigorous about 
historical dress, speech, and manner, but I've not been so fortunate as to 
attend one.



> I've also noticed an increasing trend in recent years for those
> people who are trying to do academic-style historical research in
> these organizations to try to find some other term to refer to
> themselves. "Re-enactment" is the one I hear most often, probably
> because in the U.S. it's the term used by many American Civil War and
> Revolutionary War organizations, who aim for as much authenticity as
> they see possible, and also by many of the European historical
> groups, which tend to be smaller, less diverse and to have similar
> authenticity standards.
>
> Also, for anyone who also moves in academic historical circles -- as
> a small, but increasing number of us do -- "re-enactment" seems to be
> a term that academics recognize and are willing to respect. Due to
> their diversity and, um, widely varying degrees of seriousness <g>,
> admitting to an SCA or Faire background doesn't exactly give you a
> good academic reputation.

Unfortunate.   I personally believe that "re-enactment", or whatever term one 
wishes to use about hands-on attempts to experiment with historic skills in 
order to learn about/understand/re-create historic tailoring, etc. techniques 
is part of the wave of the future in broadening our knowledge of historic 
costume (that and advances in preserving and wringing information from 
textile specimens discovered by archaelogists.)

In The World of Roman Costume (which I got as a present for my last birthday), 
a collection of essays by scholars specializing in ancient Roman costume, the 
last essay in the book was about a project where the participants attempted 
to reproduce and wear various forms of Roman costume.  The project head, who 
wrote the essay and made most of the costumes, described the problems she had 
in doing so on the small budget (about $700 U.S.D., I think), and discussed 
some of the compromises that had to be made.  What comes to me most strongly 
was the sense that the participants had fun as well as learning from the 
project.

I think we need more of that kind of scholarship (I know I'm preaching to the 
choir, here).  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Mon, 06 Jan 2003 23:03:04 -0700
Status: RO

*sigh*
As much as I like to talk about the SCA (both its good and its
less-than-optimal parts, and I've been around for a long time, so I've
*seen* them! <g>), and as much as I definitely have strong reactions to
some of the things being said about it that have been spawned off this
thread, H-costume is _really_ not the place to be discussing it.  One of
the best things I like about this list, in fact, is that it _isn't_ an
SCA list.
I respectfully request that we kill this line of discussion, and get
back to actually talking about costume, please.  Stuff coming in under
this subject line isn't even about authenticity anymore....
--sue

Catherine Olanich Raymond wrote:
> 
> On Sunday 05 January 2003 10:23 pm, kat@grendal.rain.com wrote:
> > > I joined the SCA in 1971, and I was not aware that the SCA considered
> > > itself a living history group.  I get my living history elsewhere.
> >
> > It shows up along with Williamsburg, Plimoth, ACL groups and the like
> > in the books devoted to Living History.
> 
> Knowing what I do about SCA activities (some of which I have attended even
> though I've never been a member), this surprises me somewhat.
> 
> >Although there is a lot of
> > fringe population in the SCA who prefer to play rather than study, it
> > is chartered through the IRS as a non-profit educational group with
> > their articles of incorporation stating:
> > The purposes for which this corporation is formed include:
> > (a) Research and education in the field of pre-17th-Century Western
> > Culture.
> > (b) Generally, to engage in research; publish material of relevance
> > and interest to the field of pre-17th- Century Western Culture; to
> > present activities and events which re-create the environment of said
> > era, such as, but not limited to, tournaments, jousts, fairs, dances,
> > classes, et cetera; to acquire authentic or reproduced replicas of
> > chattels representative of said era; and to collect a library.
> 
> This description of the SCA's charter doesn't surprise me.  The key terms are,
> however, "engage in research" and "present activities and events which
> recreate the environment of said era".  The SCA does lots of activities which
> are components of living history, but the typical SCA event is *not* living
> history.  (No event that mingles Vikings with Elizabethan courtiers is
> "living history" in my books.)
> 
> > So, in spite of the people uninterested in the stated reason for the
> > SCA, there are people like myself, Drea and others who do the
> > research in this way. By definition it is a "living history" group.
> 
> See above.  I think of "living history" as limited to the groups that attempt
> to recreate personas and events from a specific and fairly narrow period.
> 
> Don't get me wrong.  I like the fact that SCA is not pure "living history."
> But I think that labeling it as living history (as you've demonstrated many
> people, including arguably the SCA itself, do) gives a mistaken impression
> about what SCA events are like.
> 
> > The parts I find most difficult to reconcile is the tolerance for the
> > post 1600 Western Europe and all the Oriental and Central American
> > personas which are tolerated.
> 
> I have more problems with the time paradoxes than with the cultural breadth.
> It was possible (though probably very rare) for an African, Chinese, or
> Central Asian alive in 1550 to end up at the court of Elizabeth Tudor.  It is
> not, and never could have been possible, for Egil Skallagrimson to have a
> dinner conversation with Dr. John Dee.
> 
> >However, it is set up as an inclusive
> > group (with the hope that people will "grow" into the Western Culture
> > part)
> 
> Why?  I actually think that the SCA's expansion to include non-Western
> European cultures is a good thing.   Just because most Western Europeans, in
> (SCA) period, were unlikely ever to meet a non-Western European, does not
> mean that such creatures did not exist, and learning about them can enrich
> our understanding of what Western European culture was like.
> 
> >rather than an exclusive group where you just about have to be
> > perfect before you can play at all.
> 
> I agree with this part.  :-)
> 
> > For many of us, the SCA has given us a venue where we can do the
> > costume and costume research, and have a place to wear it and
> > teach/learn about it, rather than sitting home without a social
> > occasion to wear it.
> 
> I can relate to this.
> 
> I usually wear my costumes at science fiction conventions (where nearly
> anything sartorial goes) or make costumes specifically for live action
> roleplaying events (an amazing number of which have been based on historical
> events to greater or lesser degrees).  But the SCA certainly supplies an
> excellent venue for the wearing of costume.
> 
> --
> Cathy Raymond <cathy@thyrsus.com>
> 
> "If you can't convince them, confuse them."  Harry S. Truman
> 
> _______________________________________________
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From h-costume-admin@indra.com  Tue Jan  7 01:07:38 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, kat@grendal.rain.com
Subject: Re: Re: [h-cost] Authenticity-questions to ponder
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Date: Tue, 7 Jan 2003 01:37:24 -0500
Status: RO

On Sunday 05 January 2003 10:23 pm, kat@grendal.rain.com wrote:
[text cut here]
>
> Well, if you ever want to try it, look around for a weaving store
> which has classes. They frequently will have looms for in-store rent
> for class use. Or find a friend with a loom (which is what I did.)

I have plenty of friends with computers, but none with a loom.  The only one I 
know who probably has a loom is my sister-in-law, who lives 3000 miles away, 
in Seattle, WA.

> It
> can be really fun, although it is a royal pain in the tuckus to set
> up the warp for it. 

That's one of the things that deters me.  I understand weaving well enough to 
know I don't have the patience to put up with the warping process for 
anything wider than a (narrow) belt....


>It's one of the primary reasons why I never went
> in for getting my own loom. Setting up for an inkle loom or a
> cardweaving project is enough of a pain for me. ;)

I'm with you on this one.  :-)  

I think about buying an inkle loom from time to time.  But I have little 
enough time to spend on things like weaving that it's never seemed worth the 
investment.


>
> And you can also get books on weaving. There are several good ones
> out there which talk about different loom types, how to set them up
> and what you can do on them. (I have more than 30 books on the
> subject of various looms and weaving patterns.) Also, there are many
> books (such as Agnes Geijer's History of Textiles and Margrethe
> Hald's Danish bog book) which are better at explaining this sort of
> stuff than I can be because they have pictures and drawings which
> make understanding this stuff much easier and relate it to the
> textiles themselves in an historic way (rather than as a "here is how
> you set up a loom to make modern handwovens for selling at craft
> fairs or boutiques.")

I have a copy of Hald's book.  It's wonderful, but I wouldn't have a prayer in 
the universe of understanding the process without being able to play with it 
on my own.  Even tinkering a bit with card weaving has helped me so much in 
trying to understand other forms of weaving.


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From h-costume-admin@indra.com  Tue Jan  7 03:20:49 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
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Subject: [h-cost] Cheap Thrills
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Date: Tue, 7 Jan 2003 03:21:49 -0500
Status: RO

Okay,  I get my cheap thrills when I can use some fashion history knowledge
that I just learned when talking with the general public.  I keep seeing all
these physicians and they always try to make small talk by asking what job
is during examinations.  First, most don't have a clue, even if I try to
explain.  I sometimes wonder if they think I just play with Barbies and love
to just shop for clothes.  I have learned to say historic fashions to the
general public instead of costume.  If I say costume, the next thing they
ask is do I work with Halloween or film costumes.

Today when a new doctor walked into the patient room.... he was carrying a
Boston Bag!!!  So I commented on it and called it a Boston Bag.  I told him
that last week I put images of two types of medical bags from 1922 (from the
Rubber Catalog) on my website.  He proceeded to tell me about how the Boston
Bags are so fashionable for upper end doctors... other construction details
about bag.   Then I explained what I do and he understood its value.  I
didn't get the Play with Barbies look.

Ah-hah!  Now this one doctor understands the purpose of my job and what I
do!!!  And I used something new I learned. YIPPEEE!!!  See I told you I get
my thrills cheap.

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, 07 Jan 2003 01:45:24 -0800
Status: RO


> >Now that I think about it, the arguement at the time was that denim was now
> >a general fashion fabric and just because you wore it didn't mean you wanted
> >to overthrow the establishment.
>
>LOL!  in the late 70's I worked at a department store where the rule was,
>you couldn't wear just jeans, but a coordinated denim pants outfit was
>okay.  I had a pair of denim pants/jeans that had an asinine little bib
>thingy that buttoned on, for an overalls sort of effect.  With the bib, the
>pants were okay with my supervisor, without it, I was wearing JEANS and
>that couldn't be condoned.

I remember in the 90s, at a trade school, that the only reason I could get 
away with wearing single-colour t-shirts was by convincing the Powers That 
Be that they were really 'knit tops'.  I invested in several pairs of 
non-blue-jeans, from the local thrift store, for the same 
purpose.  Everyone in the school was intending to be either front-office 
types (they took the business classes) or computer hardware types (we took 
the electronics classes).  The dress code only made sense for the former, 
not for the latter.  The difference between the shirt-and-necktie thing and 
some of the haircuts on some of the wearers of same was always amusing.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 07 Jan 2003 02:10:50 -0800
Status: RO


> > By the way, I wish there were a way to counteract the tendency to
> > equate authenticity with morality -- with more authenticity attached
> > to notions of "goodness", sainthood, and virtue <grin> and less
> > authenticity equated with "badness" or sinfulness.
> >
>
>I totally agree.  People are involved in this activity for a variety of
>reasons and achieve a variety of results that many are happy with without
>having someone tell that they have no right to be satisfied with their
>achievements.

The converse is having to apologize for having the level of standards of 
how good is good enough for us that some of us have here.  In some groups I 
don't get to say how authentic I like to have my own stuff, and in others I 
must make jokes about it so as not to make people nervous or frighten 
them.  Anymore, if I am attempting to teach, I ask what level of 
authenticity they are going for, or if that even matters (I do science 
fiction media-re-creation costumes too).

But it's not period to tell someone they're not period.

Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: cotton damask/brocade (was Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 07 Jan 2003 02:00:12 -0800
Status: RO


>I
>can't find pure cotton brocade, let alone with a
>suitable pattern, and even if I could I wouldn't be
>able to afford it, let alone silk.

Try upholstery and drapery places.  That's where I get all my cotton damask 
in Ren. patterns.  I like the Hancock Fabric Warehouse upholstery flat-fold 
tables, and I routinely go to several in my area if I am in the market for 
this.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Tue, 07 Jan 2003 02:08:39 -0800
Status: RO


> > People who don't differentiate among the terms I've mentioned above,
> > or who define them differently, may describe their participation in
> > Faire or the SCA by any term they please. I've heard "living
> > history," for example, used to describe Faire, because the term is
> > often defined as a demonstration of historical dress, crafts, skills,
> > lifestyle etc. for a non-participating public, as is done to
> > different degrees at historic sites.
>
>I've never been to a Ren Faire that made any pretense at "demonstating"
>historical dress craft or skills. However my experience in this regard is
>limited to the Pennsylvania Ren Faire, which is mostly run like a perioid
>theme park.  I understand that some Ren Faire are quite rigorous about
>historical dress, speech, and manner, but I've not been so fortunate as to
>attend one.

There are groups within the big Ren Faires in California, and some groups 
who do the smaller Faires, who play it this way.  Most don't.


Kayta

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: and here we go again, was Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 7 Jan 2003 10:59:06 +0000 (GMT)
Status: RO


> But it's not period to tell someone they're not period.

Agreed.

But...

We have had this same discussion for goodness knows how many times. Is it just
me and am I the only one who wants to scream "for crying out loud, can't we
just all let everyone do what they want to do?" I am tired of hearing how
'mean' people are who want to be very authentic to those who don't; I am tired
of hearing how 'mean' people are who don't want to be very authentic to those
who are. I know it happens out there, but I for one would like to live with the
notion of Live and Let Live!

I love costumes.
Authentic, not authentic, fantasy, historical, I don't give a doodah! The only
thing that makes me mad is when someone _claims_ they are very authentic but
use polyester for example. Makes sense? Otherwise, let's just all enjoy
historical costumes...

Okay, I guess my fever is still too high and the flu still too bad but I just
felt that I had to say it. *sneefs*

Nicole - *coughcoughhackle*

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Tue Jan  7 06:25:42 2003
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Subject: [h-cost] OT:Textile & garb advice needed
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Date: Tue, 7 Jan 2003 12:21:54 +0000
Status: RO

I'm doing another International move at the end of the month.My concern 
is for my textiles and various pieces of garb & costumes that will have 
to be stored with the Moving Co. from the 15th of January - between 
addresses.Due to insurance stipulations,I'm only allowed to pack my most 
valuable/historic fabrics myself,everything else has to be done by the 
Movers.So far its looks as if my goods and chattels will be in storage 
some eight weeks.

Does anyone on the List have any suggestions and advice as to what I can 
use as moth and rodent deterrents to slip into the crates and 
'wardrobes' provided,which will protect my stuff?(I'm not keen on using 
the conventional mothballs since I don't want the textiles to reek 
forever after when I get them back.But can't think of anything right at 
the mo' myself.)

I'm rather twitched about this issue since I had need to wear my best 
suit just before 'Xmas and discovered that the moths had eaten the 
entire crotch of the pants away.I'd be devastated if that happened to my 
textiles or costume efforts.

Many thanks,

Marcus.

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From h-costume-admin@indra.com  Tue Jan  7 06:40:39 2003
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Date: Tue, 7 Jan 2003 11:41:20 -0000
Status: RO

Cederwood & Rosemary are traditional moth repellants I also combine with
lavender, but you might prefer to leave that out.

Rodants I can't help you with I'm afraid

Mel

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Date: Tue, 7 Jan 2003 11:49:35 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > They did a good bit on this
same thing on NPR-Sunday,
> yesterday....Really a nifty idea. IIRC, the gentleman being interviewed
> said he figured it'd be a good way to make the diaries more accessible,
> since most people would find reading all six volumes a bit...daunting.
> --sue

My edition has 11 volumes: nine volumes of text and footnotes (with an
introduction of 120 pages in Volume I), a tenth volume of commentary (The
Companion) and an eleventh volume of Index. Edited by Robert Latham and William
Matthews. Highly recommendable edition.

Nicole

=====
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Subject: Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 7 Jan 2003 12:49:25 +0000
Status: RO

You know I'm soooooo glad to read this post - you've no idea!!!
As a self taught sewer and embroiderer who has done so for more than 
3/4's of my life,I've taken my efforts very seriously - even the flops.
It wasn't until last year that I broke down and did a conventional 
pattern cutting course and began feeling a bit more 'respectable' from a 
credential perspective.And I still get narked when my research is 
considered micky-mouse because I don't belong to a Faculty any more or 
have a string of letters after my name.

On Tuesday, January 7, 2003, at 01:52  am, Chris Laning wrote:

>
> I think this tendency is probably THE major factor that I see 
> discouraging beginners in our needleworkers' guild. I can't tell you 
> how many people bring things to our "show and tell" and the first words 
> out of their mouths are, "I know this isn't very authentic, but...." in 
> tones ranging from the mildly apologetic to the seriously guilty and 
> ashamed.

Any and all efforts should be approved and applauded in my humble 
opinion.
>
> Having not a lot of self-confidence to begin with, a lot of them seem 
> to be afraid to try a new project or technique, for fear that someone 
> will "pounce" upon them for anything they do "wrong" (i.e. less 
> authentically) and make them look "bad" in front of others.

Unfortunately,as an observer I've run into a few senarios where the 
respected authority approached on the specific area seemed to delight in 
destroying the other person's shy efforts.The only time I ever 
approached someone to critic my efforts,the garment in question was 
turned over to a big-wig who didn't have a clue about the 
subject/period/techniques of the era and rattled on criticism after 
criticism and left me livid.It wasn't until a good while after that,that 
I realised this so called Specialist didn't have a clue about what she 
was judging,was approaching it from a Victorian couture angle.She knew 
nothing about 16thC Indian and Asian fashions or techniques.
>
> (In reality, of course, authenticity has no moral or "right or wrong" 
> attached to it -- except in the very limited sense that if you have set 
> it as your goal, or if it's a goal of the organization you belong to, 
> meeting it is "good" and not meeting it isn't. But really, it just is 
> not worth the kind of angst and agony that I see all too often being 
> devoted to it.)

Too true!!!
>
> I think this kind of attitude of having to be "right" in order to be 
> seen as a good person (:-/) is also behind a lot of fervent attempts to 
> "document" materials and techniques that are clearly not typical or 
> available  -- we recently went through a discussion on the H-Needlework 
> list about cotton in  16th-century England, and I think it is because 
> someone was trying to document that the cotton embroidery floss in her 
> project "could have been" used in that period. (The consensus was, BTW, 
> that this was highly unlikely -- although  cotton cloth and stuffing 
> were not unknown.)

Yes but practical considerations must be taken - not everyone can afford 
to start with the most luxe and expensive tools.And I certainly didn't 
but that no way impaired my 'learning' process and still doesn't when I 
do mock-ups in a cheaper substance before using the final fabric or 
floss.And considering the fiscal outlay of my shopping trips,I'm damned 
if I'm messing up a few Thousand Pounds investment on a first time 
run,if I don't know what exactly is going to happen while I'm working 
something out.
>
> I'd much rather see someone in that situation say, "In period they 
> would have used silk, but I used cotton because it's what I had 
> available" (or it's what I could afford, or it came in the right 
> colors, or it has to be machine washable, or whatever the reason was).

And I think it behooves us all,who love what we do to nurture those that 
follow us with gentle and kind advice,help,support,knowledge and 
experiences.

Marcus.

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Subject: [h-cost] Cederwood and Rosemary?
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Date: Tue, 7 Jan 2003 13:03:59 +0000
Status: RO

Thanks a ton Melanie!!

On Tuesday, January 7, 2003, at 11:41  am, Melanie Wilson wrote:

> Cederwood

As in those cederwood balls I saw in the USA?

> & Rosemary are traditional moth repellants I also combine with
> lavender,

As in dried herbs?
Lavendar I've got - some dried and some still growing outside.

>  but you might prefer to leave that out.

As I like the smell of them all thats fine by me.We're talking sort of 
sachets of the stuff right.(Something else to do before I'm packed up - 
aaaaarrrggghhh.Culpepper must have sachets for sale.)
>
> Rodants I can't help you with I'm afraid

Still many many thanks for the tip.

Marcus.

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Date: Tue, 7 Jan 2003 12:34:14 -0000
Status: RO

>As in those cederwood balls I saw in the USA?

Yes probably are you in England then ? I've seen them for sale in a
catalogue here... Lakeland maybe the cookware people they have a website

> & Rosemary are traditional moth repellants I also combine with
> lavender,

>As in dried herbs?
Lavendar I've got - some dried and some still growing outside.

Yes dried I used a big pillow per chest say 6x6 inches

>As I like the smell of them all thats fine by me.We're talking sort of
sachets of the stuff right.(Something else to do before I'm packed up -

Yes Don't go to the expensive small suppliers if in England try Herbal
Apocathry 0116 2602 690 They are just down the road from he so I don't have
their website sorry (if they have one!)

Mel

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From h-costume-admin@indra.com  Tue Jan  7 07:42:33 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Citing a source for a translation
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Date: Tue, 7 Jan 2003 12:43:00 +0000 (GMT)
Status: RO

Colleen, I quite like this one:

http://www.fordham.edu/halsall/cite.html

A Brief Citation Guide for Internet Sources in History and the Humanities 

Nicole


 --- Colleen McDonald <Colleen.McDonald@mackie.com> wrote: > Hi everyone,
> 
> I recently did a translation of the relevant section of Levi-Pisetzky's
> _Storia del Costume in Italia_ and I was wondering if I need to cite the
> online site that I used to help with the translation for my documentation.
> 
> I'm using the MLA format and I couldn't find anything specifically relating
> to this in my handbook.
> 
> For the information that I used from my translation, I'm referring back to
> Levi-Pisetzky.
> 
> Thanks!
> 
> Colleen
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Email: nicole@kipar.org

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Date: Tue, 7 Jan 2003 12:43:34 -0000
Status: RO

Here we go for the balls

http://www.lakelandlimited.com/is-bin/INTERSHOP.enfinity/eCS/Store/en/-/GBP/
DisplayProductInformation-Start;sid=rv-rNxOSEvodLi2IZDSgMrtSkM0_LwZpFTk=?Pro
ductID=fWPCy5OSe0cAAADoMuWqiEz7


ALSO And they are on special offer currently

http://www.lakelandlimited.com/is-bin/INTERSHOP.enfinity/eCS/Store/en/-/GBP/
DisplayProductInformation-Start;sid=rv-rNxOSEvodLi2IZDSgMrtSkM0_LwZpFTk=?Pro
ductID=2ajCy5OS9q0AAADoquuqiEz7

Mel

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Subject: Re: [h-cost] Cederwood and Rosemary? & Peppermint
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Date: Tue, 7 Jan 2003 12:46:42 -0000
Status: RO

Peppermint repells rodents so sayeth my book of herbs :)

Mel

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Subject: Re: [h-cost] Cederwood and Rosemary? Tansey
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Date: Tue, 7 Jan 2003 12:48:48 -0000
Status: RO

Tansey also for the rodent, but handle with care, it is not as safe for
humans as the others



Mel

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Tue, 7 Jan 2003 12:51:04 +0000 (GMT)
Status: RO

 --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> 
> And others point out that _all_ language changes over time.  There's 
> no logical reason to expect that speakers in some location, even a 
> culturally isolated one, would speak in a frozen time-warp.
>
Furthermore, I heartily advise against using any kind of existing dialect as a
model to learn from 'what it would have been like'. I studied Old English,
Middle English, and Early Modern English and while my Prof always cautioned us
that particularly with Old English "if we were to meet an Anglo-Saxon they
would probably just stare at us because of our weird pronunciation" - it being
academic guesswork, when it comes down to it - he never ever ventured out to
mention that anywhere we could hear English being spoken similar to an archaic
form. For exactly the reason that Heather mentioned, and I rather sit down and
get grey hair over text analyses and pronunciation pains but being able to
justify _why_ I believe such and such was pronounced so and so than just
because of geographical isolation of modern day people.

Then again *siiiiiiigh* I wasn't able to continue with historical linguistics
in a money-earning post-graduate working-way. Blasted money!

Nicole

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Subject: Re: [h-cost] Cederwood and Rosemary?
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Date: Tue, 7 Jan 2003 12:56:50 +0000 (GMT)
Status: RO

 --- Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote: > >As in those
cederwood balls I saw in the USA?
> 
> Yes probably are you in England then ? I've seen them for sale in a
> catalogue here... Lakeland maybe the cookware people they have a website

Oh yes Lakeland, absolutely love them. They also have cedarwood rings that can
be put onto clothes hangers.
http://www.lakelandlimited.co.uk

> Yes dried I used a big pillow per chest say 6x6 inches

Same here, and occasionally squeeze the lavender pillow if you can get to the
chests. refreshens the lavender smell.

> Yes Don't go to the expensive small suppliers if in England try Herbal
> Apocathry 0116 2602 690 They are just down the road from he so I don't have
> their website sorry (if they have one!)

I got a kilogramme of lavender for little money from solstuff, you can order on
the web site (it's always good to have several suppliers at hand :-)

http://www.solstuf.co.uk/

Nicole

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Subject: Re: [h-cost] OT:Textile & garb advice needed
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Date: Tue, 7 Jan 2003 09:03:03 -0500
Status: RO


I was invited to tour an old house that was being cleared for dispersal and
demolition that had a cedar room for clothing but the rest of the textiles
were stored in trunks that were liberally laced with whole cloves.  I can
attest to the fact that there was no evidence of moths or other closet
pests.  But then, the market price for  the spice was certainly cheaper then
than now.
Kathleen
----- Original Message -----
From: "marcus findlay-arthur" <marcus.cuttingtable@virgin.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 07, 2003 7:21 AM
Subject: [h-cost] OT:Textile & garb advice needed


> I'm doing another International move at the end of the month.My concern
> is for my textiles and various pieces of garb & costumes that will have
> to be stored with the Moving Co. from the 15th of January - between
> addresses.Due to insurance stipulations,I'm only allowed to pack my most
> valuable/historic fabrics myself,everything else has to be done by the
> Movers.So far its looks as if my goods and chattels will be in storage
> some eight weeks.
>
> Does anyone on the List have any suggestions and advice as to what I can
> use as moth and rodent deterrents to slip into the crates and
> 'wardrobes' provided,which will protect my stuff?(I'm not keen on using
> the conventional mothballs since I don't want the textiles to reek
> forever after when I get them back.But can't think of anything right at
> the mo' myself.)
>
> I'm rather twitched about this issue since I had need to wear my best
> suit just before 'Xmas and discovered that the moths had eaten the
> entire crotch of the pants away.I'd be devastated if that happened to my
> textiles or costume efforts.
>
> Many thanks,
>
> Marcus.
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Tue, 07 Jan 2003 07:00:16 -0700
Status: RO

Can I *hate* you for that comment, Kayta? After I get the drool out of
my keyboard, of course?
We have two Hancocks in the entire d@mned state of MT--the nearest is 4?
hours away, over a couple of nasty passes.  And a Hancocks *warehouse*?
ooooh, baby....I could only wish!
Every once in a rare, rare while, I find some appropriate cotton-based
brocades in the flatfolds at JoAnn's (it's either that or Walmart, which
I don't patronize), but that's more of a rare fluke than anything....
--sue

Carolyn Kayta Barrows wrote:
> 
> >I
> >can't find pure cotton brocade, let alone with a
> >suitable pattern, and even if I could I wouldn't be
> >able to afford it, let alone silk.
> 
> Try upholstery and drapery places.  That's where I get all my cotton damask
> in Ren. patterns.  I like the Hancock Fabric Warehouse upholstery flat-fold
> tables, and I routinely go to several in my area if I am in the market for
> this.
>
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Subject: Re: [h-cost] Authenticity-pronunciation
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Date: Tue, 7 Jan 2003 06:14:40 -0800
Status: RO

I think this question and suggestion, using Appalachians or some other area
as a model for Elizabethan English comes from those who need "something" to
imitate and for a performance by next week or month.  Actors are not in the
academic position of leaving what is truely unknown to the unknown, they
have to deliver something.  For someone who is in this situation what would
you suggest?

Lisa

----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 07, 2003 4:51 AM
Subject: Re: [h-cost] Authenticity-questions to ponder


> --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU>
> > And others point out that _all_ language changes over time.  There's
> > no logical reason to expect that speakers in some location, even a
> > culturally isolated one, would speak in a frozen time-warp.
> >
> Furthermore, I heartily advise against using any kind of existing dialect
as a
> model to learn from 'what it would have been like'. I studied Old English,
> Middle English, and Early Modern English and while my Prof always
cautioned us
> that particularly with Old English "if we were to meet an Anglo-Saxon they
> would probably just stare at us because of our weird pronunciation" - it
being
> academic guesswork, when it comes down to it - he never ever ventured out
to
> mention that anywhere we could hear English being spoken similar to an
archaic
> form. For exactly the reason that Heather mentioned, and I rather sit down
and
> get grey hair over text analyses and pronunciation pains but being able to
> justify _why_ I believe such and such was pronounced so and so than just
> because of geographical isolation of modern day people.
>
> Then again *siiiiiiigh* I wasn't able to continue with historical
linguistics
> in a money-earning post-graduate working-way. Blasted money!
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
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Subject: [h-cost] A Book of Interest
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Date: Tue, 7 Jan 2003 09:08:07 -0500
Status: RO

I haven't seen this book before but I thought some of you might be
interested.  It is at abebooks.com

http://dogbert.abebooks.com/servlet/BookDetailsPL?bi=61178071
Hughes, Talbot
Dress Design an account of Costume for artists & dressmakers
Pitman 1920 reprint Good hard cover name ffl corners bumped edge wear cover
soiled very good reading reference copy
Bookseller Inventory #110396
Price: US$ 25.00

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, 07 Jan 2003 07:12:29 -0700
Status: RO

11 volumes? Dang! That would require a whole shelf, all of its own!
I don't recall ever having to read Pepys in school when I was getting my
degree in English.  Of 17th c. stuff, poetry, yes, which I just loved,
and an eternity of John Milton (whom I absolutely loathe and despise),
and maybe a play or two, but not much in prose.
I just *may* have to visit my local library....<g>
--sue, biblio- and fabric-phile ;-)

N Kipar wrote:
> 
>  --- Sue Clemenger <mooncat@in-tch.com> wrote: > They did a good bit on this
> same thing on NPR-Sunday,
> > yesterday....Really a nifty idea. IIRC, the gentleman being interviewed
> > said he figured it'd be a good way to make the diaries more accessible,
> > since most people would find reading all six volumes a bit...daunting.
> > --sue
> 
> My edition has 11 volumes: nine volumes of text and footnotes (with an
> introduction of 120 pages in Volume I), a tenth volume of commentary (The
> Companion) and an eleventh volume of Index. Edited by Robert Latham and William
> Matthews. Highly recommendable edition.
> 
> Nicole
> 
>
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Date: Tue, 07 Jan 2003 07:26:22 -0700
Status: RO

Nicole Kipar, you are a *horrible* person <laughing>
I love lavender anything, and now there's this *website*!  Oooooh, the
pain in my wallet! <weg>
--sue

N Kipar wrote:
>  
> I got a kilogramme of lavender for little money from solstuff, you can order on
> the web site (it's always good to have several suppliers at hand :-)
> 
> http://www.solstuf.co.uk/
>
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Subject: Re: [h-cost] Authenticity-pronunciation
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Date: Tue, 7 Jan 2003 14:30:54 +0000 (GMT)
Status: RO

 --- Lisa Sinervo <lisa-list@threadneedlest.com> wrote: > I think this question
and suggestion, using Appalachians or some other area
> as a model for Elizabethan English comes from those who need "something" to
> imitate and for a performance by next week or month.  Actors are not in the
> academic position of leaving what is truely unknown to the unknown, they
> have to deliver something.  For someone who is in this situation what would
> you suggest?

Yikes! Lisa I am sorry, but I am out of my depths trying to answer this
question. I really don't know, unless there are tapes available? I remember
that at Hull University tapes for Old English were recommended, and I am sure
this must exist as well for Early Modern English. That might be the way to go?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Tue, 7 Jan 2003 14:38:16 -0000
Status: RO

Are there any accent tapes you can use ?

Or the BBC did a collection of English dialects for the millenium try
www.bbc.co.uk or the British library if my memory serves

Mel

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Date: Tue, 07 Jan 2003 04:58:55 -0800
Status: RO


>>Cederwood
>
>As in those cederwood balls I saw in the USA?

Pet stores sometimes have bags of cedar shavings to be used for bedding for 
caged things like rabbits and mice.  That, in an old ruined nylon stocking, 
would be your cheapest.


Kayta

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Subject: Re: and here we go again, was Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 07 Jan 2003 04:53:03 -0800
Status: RO


>I love costumes.
>Authentic, not authentic, fantasy, historical, I don't give a doodah! The only
>thing that makes me mad is when someone _claims_ they are very authentic but
>use polyester for example. Makes sense? Otherwise, let's just all enjoy
>historical costumes...

So these days I tell people I do SCA Renaissance, Ren. Faire Renaissance, 
Fantasy Renaissance, Theatrical Renaissance, and Authentic Renaissance, and 
I know the difference.  It makes newbies relax, and costumers laugh.

>Okay, I guess my fever is still too high and the flu still too bad but I just
>felt that I had to say it. *sneefs*

My sympathy on the *sneefs* - I had them for at least a week.


Kayta

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume <h-costume@indra.com>
Subject: Re: [h-cost] A Book of Interest
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Date: Tue, 7 Jan 2003 08:58:04 -0600 (CST)
Status: RO


On Tue, 7 Jan 2003, Penny Ladnier wrote:

> http://dogbert.abebooks.com/servlet/BookDetailsPL?bi=61178071
> Hughes, Talbot
> Dress Design an account of Costume for artists & dressmakers
> Pitman 1920 reprint Good hard cover name ffl corners bumped edge wear cover
> soiled very good reading reference copy
> Bookseller Inventory #110396
> Price: US$ 25.00

I use an image from this book in a lecture tracking the development of
misintrpretations of medieval costume. The image I have is two pages of
Hughes' sketches of short "jackets" from the 14th century that are
actually the author's catastrophic misinterpretation of sideless surcotes.
(He mistakenly read the fur plackets and fur-trimmed side openings of the
surcote as a different kind of overlayer -- short rounded jackets edged
with fur and buttoned up the front. I call it a "depth perception problem"
in the lecture.)

I don't know about the rest of the book, so maybe other periods are
better, but that should provide sufficient warning against anyone looking
to it as a resource for medieval.

It's good for a laugh, though. If I had a spare $25, I'd pick it up for my
Bad Costume Book shelf.

--Robin



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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: cotton damask/brocade (was Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 07 Jan 2003 06:51:38 -0800
Status: RO

Sue Clemenger writes, in a message sent 07:00 AM 1/7/03 -0700:
>Can I *hate* you for that comment, Kayta? After I get the drool out of
>my keyboard, of course?
>We have two Hancocks in the entire d@mned state of MT--the nearest is 4?
>hours away, over a couple of nasty passes.  And a Hancocks *warehouse*?
>ooooh, baby....I could only wish!

Don't hate me too bad.  The full name of the place is Hancock Fabric 
Warehouse, but none of them are really warehouses.  And since I'm looking 
in the drapery flat-fold section, usually the biggest pieces I can get will 
make sleeves.  Sometimes I can get a skirt-size piece.  On occasion I have 
found bigger pieces, and I grabbed them.  I get linen there too, sometimes.

I have fabric stores plural, but you have the Rocky Mountains, and all that 
sky, and the Montana State Historical Society, and the town my great 
grandfather was postmaster of, and the ranch my mother's family lived on, 
any one of which is way more than 4 hours away from where I live.  But you 
could visit me sometime, and we could go shopping.

>Every once in a rare, rare while, I find some appropriate cotton-based
>brocades in the flatfolds at JoAnn's (it's either that or Walmart, which
>I don't patronize), but that's more of a rare fluke than anything....
>--sue
>
>Carolyn Kayta Barrows wrote:
> >
> > >I
> > >can't find pure cotton brocade, let alone with a
> > >suitable pattern, and even if I could I wouldn't be
> > >able to afford it, let alone silk.
> >
> > Try upholstery and drapery places.  That's where I get all my cotton damask
> > in Ren. patterns.  I like the Hancock Fabric Warehouse upholstery flat-fold
> > tables, and I routinely go to several in my area if I am in the market for
> > this.
> >
>_______________________________________________
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Kayta

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Subject: Re: [h-cost] Cederwood and Rosemary?
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Date: Tue, 07 Jan 2003 15:55:24 +0000
Status: RO

I would also include some silica dessicant.  I have a friend who stored books 
for a while and the dessicant kept them from getting mold on them or getting 
that moldy smell that things in storage get.  good luck  maryann
> Thanks a ton Melanie!!
> 
> On Tuesday, January 7, 2003, at 11:41  am, Melanie Wilson wrote:
> 
> > Cederwood
> 
> As in those cederwood balls I saw in the USA?
> 
> > & Rosemary are traditional moth repellants I also combine with
> > lavender,
> 
> As in dried herbs?
> Lavendar I've got - some dried and some still growing outside.
> 
> >  but you might prefer to leave that out.
> 
> As I like the smell of them all thats fine by me.We're talking sort of 
> sachets of the stuff right.(Something else to do before I'm packed up - 
> aaaaarrrggghhh.Culpepper must have sachets for sale.)
> >
> > Rodants I can't help you with I'm afraid
> 
> Still many many thanks for the tip.
> 
> Marcus.
> 
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Date: Tue, 7 Jan 2003 11:09:01 -0500
Status: RO

Some of those I still happily wear. I guess the difference is in that I have
the choice of wearing them or not, even if they're in fashion. I think that
was not really a question of choice before.

> As far as impractical clothing of our times:
> --the previously-mentioned "sizzler" skirts which were so short (shorter
> than micro-minis) that you needed matching/attached bikini panties under
> them for modesty;
> --hot pants and hot-pant-legged jumpsuits (one of which nearly caused me a
> case of frostbite when the school's Late Bus never showed up);
> --fish-net stockings;
> --tank tops;
> --nylon hosiery (IMNSHO the bane of almost every woman's professional
> existence!);
> --high-heeled shoes;
> --too-tiny-for-a-tube-of-lipstick handbags;
> --the super-low-rise, over-sized,
> deliberately-falling-off-your-pelvis-and-exposing-your-underpants jeans
> some of the youth of the '90's wore all the time;
> --ladies' clothes *without* *pockets*...
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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Tue, 7 Jan 2003 10:39:04 -0600
Status: RO

And we are nothing if not adventurous for wearing them. :)

Now that I have lost a significant amount of weight I can wear most of these
again. But I am not quite ready for the smaller than micro mini's
yet......yet I said!

I love my new body!!!!

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 07, 2003 10:09 AM
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing
requirements


> Some of those I still happily wear. I guess the difference is in that I
have
> the choice of wearing them or not, even if they're in fashion. I think
that
> was not really a question of choice before.
>
> > As far as impractical clothing of our times:
> > --the previously-mentioned "sizzler" skirts which were so short (shorter
> > than micro-minis) that you needed matching/attached bikini panties under
> > them for modesty;
> > --hot pants and hot-pant-legged jumpsuits (one of which nearly caused me
a
> > case of frostbite when the school's Late Bus never showed up);
> > --fish-net stockings;
> > --tank tops;
> > --nylon hosiery (IMNSHO the bane of almost every woman's professional
> > existence!);
> > --high-heeled shoes;
> > --too-tiny-for-a-tube-of-lipstick handbags;
> > --the super-low-rise, over-sized,
> > deliberately-falling-off-your-pelvis-and-exposing-your-underpants jeans
> > some of the youth of the '90's wore all the time;
> > --ladies' clothes *without* *pockets*...
> _______________________________________________
> 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 Jan  7 12:21:47 2003
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Subject: Re: [h-cost] OT:Textile & garb advice needed
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Date: Tue, 7 Jan 2003 07:36:45 -0800
Status: RO

Try using cedar shavings and stuffing them in gauze bags with your stuff.
You can get large bags of shavings at pet stores for cheap, and it's
every bit as aromatic as the pricier stuff found elsewhere. The gauze
will let the cedar "breathe."

Arlys

On Tue, 7 Jan 2003 12:21:54 +0000 marcus findlay-arthur
<marcus.cuttingtable@virgin.net> writes:
> I'm doing another International move at the end of the month.My 
> concern 
> is for my textiles and various pieces of garb & costumes that will 
> have 
> to be stored with the Moving Co. from the 15th of January - between 
> addresses.Due to insurance stipulations,I'm only allowed to pack my 
> most 
> valuable/historic fabrics myself,everything else has to be done by 
> the 
> Movers.So far its looks as if my goods and chattels will be in 
> storage 
> some eight weeks.


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From h-costume-admin@indra.com  Tue Jan  7 12:37:01 2003
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Tue, 7 Jan 2003 12:37:04 -0500 (EST)
Status: RO

Speaking of panty hose...
The 'dress code' for women in my office (and it's an office of
mostly women, including the VP of the department) tends to be pants (not
jeans, except on Fridays or snow days) and a knitted top (turtleneck,
shell, whatever), sometimes worn with a jacket or sweater.  I should note
that this isn't an 'official' dress code, it's just what everyone wears.
I work at a good-sized non-profit in Washington, DC.

My sister, who also works for a nonprofit, says that it's pretty similar
where she works, and she wears a pant suit for interviews.

Is this pretty much standard office wear now?  Are there any jobs that
require women to wear skirts anymore?  I don't really have a sense of
what's current elsewhere.  (My other friends tend to be tech types, and
can get away with wearing jeans and t-shirts to work every day.)

-- Mara

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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 10:52:52 -0800
Status: RO

there have been a lot of really unrelated topics lately and I would like to 
connect some of these dots (discussions) into a matrix and propose a 
hypothesis to run by those of you who actually do know something.  I would 
like to point out that I have the advantage of coming from a point of total 
ignorance.

I look at the topic on the inexplicable aspects of modern dress, connect 
that with the discussion of populations who wear nonrepresentational 
clothing (restrictive dress codes).  that dot goes to the discussion on 
spinning and weaving styles of the medieval, which can be connected to the 
topic of seam styles and when they developed, which then connects to the 
topic of dyes and what was dyed, when and how.  My favorite dot is the one 
about how what the sheep eat affect their wool.  The last two threads for 
me are the one about how spinning and weaving were already done by guilds 
in the medieval, and the silly Elizabethan costume contest from another list.

When I put this matrix together, it makes me wonder... In a medieval 
community, you would have had a reasonably isolated population, the higher 
your social status the less your isolation, you would have had a group of 
growers, a group of spinners and dyers, a group of weavers... they would 
have for the most part served one community.  There would be some trade 
back and forth and some import and export.  yes, no?

But, and here is the hypothesis from this whole thing, wouldn't independent 
styles and variations develop enough that you could probably tell where a 
person was from based on their dress.  Not you, but could a medieval woman 
from say Kent, look at a medieval woman from the Cotswalds and know that 
because of the weave and color of her gown and the particular cut that she 
was from this other region.  I would think that if, in a community, the 
people running the dying really liked saffron and hated salmon, that 
everybody in that town would be running around in saffron.  same with 
spinning, if you mastered the z spin and couldn't do the s to save your 
life, then probably everybody would be wearing z spun garments.

And, if the lady of the manor thought that sleeves should be loose, then 
maybe everybody else's sleeves in that area would be looser than normal.

Does this make sense?  Do we know if this existed and if it did how much it 
would be a factor in what people wore?

I guess another question I have is how much did the events of the day 
influence what people wore, beyond if people were better off financially 
they had better clothing.  By this I mean did hems really rise and fall in 
response to economic conditions?  Did the huge population declines brought 
on by the plague change how people dressed?  Did the collapse of serfdom 
change anything?

any answers?  thanks, maryann

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Tue, 7 Jan 2003 11:03:40 -0800 (PST)
Status: RO


Hmm, in the offices I am associated with, women can
wear either pant suits or skirts.  We cannot wear
casual clothes like jeans, but slacks and sweaters are
ok for those not going to meet with clients.  I'm one
who wears skirts 98% of the time, with jokes on the
days that I am seen wearing pants.  I'm in a detached
office that is slightly more casual, so I can wear
some of my garb as well, like GFD's with no tippets or
obtrusive decoration, or a walking suit.

Men must wear dress shirts and slacks, with ties if
they are meeting clients.  Sweaters are ok, if neatly
fitted ones, not baggy or ultra tight.  None of the
men have hair beyond their collars, although a couple
sport earrings.

Angharat



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From: Gwyn Carnegie <gacarnegie@ucdavis.edu>
Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Tue, 07 Jan 2003 11:02:19 -0800
Status: RO

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Forgive me for playing catch up on old topics, I've just recovered from my 
Christmas plague  - I was like a Micmac Indian with a new blanket.

As folks have mentioned, the trick for pulling these dresses off is making 
the foundation of the dress. I'd add that draping skills and foundation 
garments; i.e. a either a long line corset with bust cover or period 
brassiere with a good replica girdle. If you don't have the draping skills 
now, you will by the time you are done >; ) Teens dresses can be 
intimidating but once you get the "hand" of them, they are a breeze and 
often become works of art.

If you can scan the picture of the original dress,  we can help you more. 
Another option is find a dress that is close here 
http://www.kci.or.jp/collection/collset-e.html and go from there. As an 
interesting note, click on the Poiret dress in the 1910 category then drill 
down using the zoom feature onto the hemline and notice all the tiny 
dressmakers tacks used on the   outer fabric which is flat lined with a 
light cotton voile to stabilize the skirt bottom.

There is one pattern from Promenade but I haven't made that one up yet. 
Carolynn reviewed it on the GBACG site 
http://www.gbacg.org/Patterns/promenade.htm.
Existing patterns from the originals are easy to come by (see 
http://www.vpll.org/ or www.pastpatterns.com). Laughing Moon has one as 
well as Sense and Sensibility though both need a lot of re-configuring to 
get them to drape like the originals. I love Jennie's pattern and often use 
it as a pattern sloper for the outer bodice and skirts.

Gwyn

At 02:38 PM 1/5/2003 -0800, you wrote:
>Lynoure
>
>You might want to check out a line by Promenade Patterns.  Harper House
>carries them at http://www.longago.com/edward.html .  I have not seen the
>picture you wish to recreate, as I cannot locate my book, but they have two
>existing patterns for gowns from the teens and one may suit you, or may be
>close enough to alter to your tastes.  There are also patterns from this era
>at www.pastpatterns.com, but they are mostly day wear.
>
>angela
>+++++
>Angela F. Lazear
>Cabbage Rose Costumes
>http://www.cabbagerosecostumes.com
>Theatrical Costume Design
>"So far as my coin would stretch; and where it would not
>I have used my credit."
>King Henry the Fourth; I, ii - W. Shakespeare
>
>----- Original Message -----
>From: "Ella Lynoure Rajamaki" <lynoure@tuug.fi>
>To: <h-costume@indra.com>
>Sent: Wednesday, January 01, 2003 3:51 AM
>Subject: [h-cost] Hint for making 1913 evening dress
>
> > I'm about to start making a dress that makes me very nervous, because it's
> > from an era I'm not very familiar with and because it's going to be my
> > wedding dress. It's going to be a copy of the dress on pages 377 to 380 of
> > Costume in Detail 1730-1930, but I'm considering using light purple colour
> > instead of light blue.
> >
> > Could somebody give me hints about dressmaking or pattern making of that
> > era? E.g. does a "close enough" pattern already exist?
> >
> > --
> > Lynoure Rajamaki
> > lynoure@tuug.fi

Gwyn Carnegie
University of California at Davis

--=====================_10813812==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
Forgive me for playing catch up on old topics, I've just recovered from
my Christmas plague&nbsp; - I was like a Micmac Indian with a new
blanket.<br><br>
As folks have mentioned, the trick for pulling these dresses off is
making the foundation of the dress. I'd add that draping skills and
foundation garments; i.e. a either a long line corset with bust cover or
period brassiere with a good replica girdle. If you don't have the
draping skills now, you will by the time you are done &gt;; ) Teens
dresses can be intimidating but once you get the &quot;hand&quot; of
them, they are a breeze and often become works of art. <br><br>
If you can scan the picture of the original dress,&nbsp; we can help you
more. Another option is find a dress that is close here
<a href="http://www.kci.or.jp/collection/collset-e.html" eudora="autourl">http://www.kci.or.jp/collection/collset-e.html</a>
and go from there. As an interesting note, click on the Poiret dress in the 1910 category then drill down using the zoom feature onto the hemline and notice all the tiny dressmakers tacks used on the&nbsp;&nbsp; outer fabric which is flat lined with a light cotton voile to stabilize the skirt bottom. <br><br>
There is one pattern from Promenade but I haven't made that one up yet. Carolynn reviewed it on the GBACG site <a href="http://www.gbacg.org/Patterns/promenade.htm" eudora="autourl">http://www.gbacg.org/Patterns/promenade.htm</a>.<br>
Existing patterns from the originals are easy to come by (see http://www.vpll.org/ or www.pastpatterns.com). Laughing Moon has one as well as Sense and Sensibility though both need a lot of re-configuring to get them to drape like the originals. I love Jennie's pattern and often use it as a pattern sloper for the outer bodice and skirts.<br><br>
Gwyn<br><br>
At 02:38 PM 1/5/2003 -0800, you wrote:<br>
<blockquote type=cite class=cite cite>Lynoure<br><br>
You might want to check out a line by Promenade Patterns.&nbsp; Harper House<br>
carries them at <a href="http://www.longago.com/edward.html" eudora="autourl">http://www.longago.com/edward.html</a> .&nbsp; I have not seen the<br>
picture you wish to recreate, as I cannot locate my book, but they have two<br>
existing patterns for gowns from the teens and one may suit you, or may be<br>
close enough to alter to your tastes.&nbsp; There are also patterns from this era<br>
at <a href="http://www.pastpatterns.com/" eudora="autourl">www.pastpatterns.com</a>, but they are mostly day wear.<br><br>
angela<br>
+++++<br>
Angela F. Lazear<br>
Cabbage Rose Costumes<br>
<a href="http://www.cabbagerosecostumes.com/" eudora="autourl">http://www.cabbagerosecostumes.com</a><br>
Theatrical Costume Design<br>
&quot;So far as my coin would stretch; and where it would not<br>
I have used my credit.&quot;<br>
King Henry the Fourth; I, ii - W. Shakespeare<br><br>
----- Original Message -----<br>
From: &quot;Ella Lynoure Rajamaki&quot; &lt;lynoure@tuug.fi&gt;<br>
To: &lt;h-costume@indra.com&gt;<br>
Sent: Wednesday, January 01, 2003 3:51 AM<br>
Subject: [h-cost] Hint for making 1913 evening dress<br><br>
&gt; I'm about to start making a dress that makes me very nervous, because it's<br>
&gt; from an era I'm not very familiar with and because it's going to be my<br>
&gt; wedding dress. It's going to be a copy of the dress on pages 377 to 380 of<br>
&gt; Costume in Detail 1730-1930, but I'm considering using light purple colour<br>
&gt; instead of light blue.<br>
&gt;<br>
&gt; Could somebody give me hints about dressmaking or pattern making of that<br>
&gt; era? E.g. does a &quot;close enough&quot; pattern already exist?<br>
&gt;<br>
&gt; --<br>
&gt; Lynoure Rajamaki<br>
&gt; lynoure@tuug.fi</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_10813812==.ALT--

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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Tue, 7 Jan 2003 13:21:54 -0600
Status: RO

The last two office jobs I had you could not wear leggings or exercise wear
as a top or bottom. Jeans were only on days that were assigned as so and at
one office we could wear shorts on days that we had team outings on.

The last office there was a uniform that was color specific, not clothing
specific but I was a contractor so I was bound by the agency's dress code. I
wore, by choice, dresses. The code was office dressy, nice clean business
attire. The office uniform was ugly in my opinion, really ugly, felt like I
was in a blockbuster from 15 years ago.

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 07, 2003 1:03 PM
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing
requirements


>
> Hmm, in the offices I am associated with, women can
> wear either pant suits or skirts.  We cannot wear
> casual clothes like jeans, but slacks and sweaters are
> ok for those not going to meet with clients.  I'm one
> who wears skirts 98% of the time, with jokes on the
> days that I am seen wearing pants.  I'm in a detached
> office that is slightly more casual, so I can wear
> some of my garb as well, like GFD's with no tippets or
> obtrusive decoration, or a walking suit.
>
> Men must wear dress shirts and slacks, with ties if
> they are meeting clients.  Sweaters are ok, if neatly
> fitted ones, not baggy or ultra tight.  None of the
> men have hair beyond their collars, although a couple
> sport earrings.
>
> Angharat
>
>
>
> __________________________________________________
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Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Tue, 7 Jan 2003 14:51:41 -0500
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> 
> From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> Date: 2003/01/07 Tue AM 09:14:40 EST
> To: <h-costume@indra.com>
> Subject: Re: [h-cost] Authenticity-pronunciation
> 
> I think this question and suggestion, using Appalachians or some other area
> as a model for Elizabethan English comes from those who need "something" to
> imitate and for a performance by next week or month.  Actors are not in the
> academic position of leaving what is truely unknown to the unknown, they
> have to deliver something.  For someone who is in this situation what would
> you suggest?
> 
> Lisa


     I would recommend doing what Elizabethan actors probably did most of the time.  Use your own accent.  Rarely is the accent important to the show, though when it is it is provided for (and not common elizabethan English) anyway.  Shakespeare comical portrayal of welsh comes to mind.

  ...and yes I have been in this position several times.  

Cheers,
Ron


R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Date: Tue, 07 Jan 2003 12:09:10 -0800
Status: RO

At 11:02 AM 01/07/2003 -0800, Gwyn Carnegie wrote:
>   - I was like a Micmac Indian with a new blanket.
>
Gwyn, shame on you!  Now there's coffee all over the screen!

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Subject: Re: [h-cost] Generalls Musick & Players at M.O.L.
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Date: Tue, 07 Jan 2003 20:15:54 +0000
Status: RO

(Blushing) Many thanks for your kind words, Stevie!

Our secretary is supposed to be setting up a website for the group; when this materialises, I'll let everyone have the address. You can see a picture of the dancers at the event at http://www.hants.gov.uk/basdance/index3.html 

To Sue who asked about my outfit - The bodice is a simplified version of the 1630s one in the V&A (see Nicole's website www.kipar.org under Costume - Surviving garments) made in a terracotta-coloured glazed cotton. The skirt is blue brocade with a small pattern. To hide my short hair I wear a semi-opaque black veil.

Kate Bunting
Library, University of Derby


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Subject: Re: [h-cost] Authenticity-pronunciation
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Date: Tue, 7 Jan 2003 14:42:31 -0500
Status: RO

Lisa as a starter, you might contact Plimouth Plantation, Plymouth, Ma. and
ask if their research material used for the living history site would be
available...at least their resources.  They 'do' 1603-1627 and are renowned
for their success in preparing their actors for the Life.
Kathleen
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 07, 2003 9:30 AM
Subject: Re: [h-cost] Authenticity-pronunciation


> --- Lisa Sinervo <lisa-list@threadneedlest.com> wrote: > I think this
question
> and suggestion, using Appalachians or some other area
> > as a model for Elizabethan English comes from those who need "something"
to
> > imitate and for a performance by next week or month.  Actors are not in
the
> > academic position of leaving what is truely unknown to the unknown, they
> > have to deliver something.  For someone who is in this situation what
would
> > you suggest?
>
> Yikes! Lisa I am sorry, but I am out of my depths trying to answer this
> question. I really don't know, unless there are tapes available? I
remember
> that at Hull University tapes for Old English were recommended, and I am
sure
> this must exist as well for Early Modern English. That might be the way to
go?
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
> http://uk.my.yahoo.com
> _______________________________________________
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> 
> From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> Date: 2003/01/06 Mon PM 02:34:57 EST
> To: <h-costume@indra.com>
> Subject: Re: Re: [h-cost] authenticity/idiotically unsuitable


  No, but I do portray a characther at one of the "Living History" sites mentioned previously in this thread.

Cheers,
Ron
> Really?  Are you a baseball player?
> :)
> Lisa Sinervo
> Threadneedle St. Clothiers
> www.ThreadneedleSt.com
> 
> 
> ----- Original Message -----
> From: <r.carnegie@verizon.net>
> To: <h-costume@indra.com>
> Sent: Monday, January 06, 2003 10:15 AM
> Subject: Re: Re: [h-cost] authenticity/idiotically unsuitable
> 
> 
> >
> > > Shorts are only for casual wear.  I think breeches for men should come
> back
> > > in style!  That would be loads of fun!!!
> > >
> > > Lisa
> > >
> > Hey...I wear breeches to worl almost daily!
> >
> > Cheers,
> >
> >
> > R.Carnegie@verizon.net
> > "Argue for your limitations, and they are yours."
> >              R. Bach
> >
> > _______________________________________________
> > 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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> 

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Date: Tue, 07 Jan 2003 20:23:01 +0000
Status: RO

(Catching up on my mails after an extended Christmas break)
I got a book on stumpwork, having promised myself for years that I'd try it some day. As a first attempt, I plan to make a small panel to decorate the box in which I keep my shawm reeds (it's black plastic and doesn't look very period).


Kate Bunting
Library, University of Derby


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From: Katy Bishop <vintage@shore.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Tue, 7 Jan 2003 15:34:15 -0500 (EST)
Status: RO


The best starting point I've found for 1910's dresses are the patterns
in Janet Arnold's "Patterns of Fashion 2".  The 1909-10 empire style
evening dress, if one is going for a Titanic styled dress and the
1913-14 afternoon dress (has a rather nifty draped skirt). Or even the
1911-12 day dress can be altered to have evening lines.  All three of
these dresses show patterns for fitted underbodices, in three different
styles.

I agree with the suggestions that it is all in the foundation.  A good
lining/underbodice upon which you can drape your cloth is the key to a
successful 'teens dress.

I have been immersed in the 'teens lately, working on a three volume
book on evening dresses 1909-1920, taking the styles from the Gibson
Girl to the Flapper.  At times I feel I will never finish this book
though, with 2 five year olds underfoot and all the colds they are
bringing home from kindergarten.

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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> 
> From: Catherine Olanich Raymond <cathy@thyrsus.com>
> Date: 2003/01/07 Tue AM 01:06:29 EST
> To: h-costume@indra.com,  kat@grendal.rain.com
> Subject: Re: [h-cost] Authenticity-questions to ponder
> 
> On Sunday 05 January 2003 10:23 pm, kat@grendal.rain.com wrote:
> > > I joined the SCA in 1971, and I was not aware that the SCA considered
> > > itself a living history group.  I get my living history elsewhere.
> >
> > It shows up along with Williamsburg, Plimoth, ACL groups and the like
> > in the books devoted to Living History. 
> 
> Knowing what I do about SCA activities (some of which I have attended even 
> though I've never been a member), this surprises me somewhat.

> This description of the SCA's charter doesn't surprise me.  The key terms are, 
> however, "engage in research" and "present activities and events which 
> recreate the environment of said era".  The SCA does lots of activities which 
> are components of living history, but the typical SCA event is *not* living 
> history.  (No event that mingles Vikings with Elizabethan courtiers is  
> "living history" in my books.)
> 
    The term "Living History" as I understand it, was created by Jay Andersen in the 1960s.  The phrase was meant to explain a method of teaching history, rather than a hobby or method of recreation.  Living History is any method or location that seeks to teacgh history by bringing it out of the history books and into life.

    Most living history sites and organizations are dedicated to a specific time period, but not all.  Mystic Seaport is dedicated to all the seafaring history of all of North America.  A recent exhibition by that site, teaching about nautical immigration, ends with the Cuban boat refugees.  Connor Prairie and Tyron Palace are both set in at least two historic periods.  This can be true of organizations as well.  The LHA of Richmond Virginia, Past Pleasures of London, and LAHA of Southern California all provide characters and events from a large gamut of periods.  

    Most Living History programs, sites or organizations tend to view the audience (visitors, guests, etc.) as the students, but I am not convincied that an organization that teachs its members as it's main audience can not be described as "Living History" and with that it does not surprise me that some organization ight show up on such lists.

    A term that may be more applicable is "Experiential Archealogy" though I do not like the term myself.  This termed is used to explain the activities of those who practice obsolete crafts or lifestyles so as to better understand them.  I like the idea, but do not think Archealogy is really the correct term to use, but it is common usage in the field.

    In a completly transparent apparent to make this at least slightly ontopic, even Historic Clothing is NOT needed for Living History (though I prefer it).  Mystic for instance, because of its huge time period, uses costumes only for a small number of 1st peron interpreters and not most of its staff.  Most are dressed in khakis and polo shirts.  This is true of there interpreters, maintanance staff and administration!

Cheers,
Ron Carnegie
member of ALHFAM and curiously enough the SCA

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Tue, 07 Jan 2003 10:30:08 -0800
Status: RO


> On Sunday 05 January 2003 10:23 pm, kat@grendal.rain.com wrote:
> > > I joined the SCA in 1971, and I was not aware that the SCA
> > > considered itself a living history group.  I get my living history
> > > elsewhere.
> >
> > It shows up along with Williamsburg, Plimoth, ACL groups and the
> > like in the books devoted to Living History. 
> 
> Knowing what I do about SCA activities (some of which I have attended
> even though I've never been a member), this surprises me somewhat.

I have two books about living history groups. One describes what 
living history is and what it does, and the other is a resource book 
for finding living history groups and supplies. Both of them list the 
SCA.

However, thre are a lot of people who don't want "living history" to 
mean anything but sites which do living history. But it is actually 
"learning by doing" that is a big part of "Living History".

> This description of the SCA's charter doesn't surprise me.  The key
> terms are, however, "engage in research" and "present activities and
> events which recreate the environment of said era".  The SCA does lots
> of activities which are components of living history, but the typical
> SCA event is *not* living history.  (No event that mingles Vikings
> with Elizabethan courtiers is  "living history" in my books.)

This is one of the "Your mileage may vary" issues. However, if you 
are "learning by doing" as opposed to just reading it in a book and 
theorizing, then it is "living history" instead of "book history." It 
may not be your idea of what a "living history" group or site 
*should* be, but it is "living history". 

> > The parts I find most difficult to reconcile is the tolerance for
> > the post 1600 Western Europe and all the Oriental and Central
> > American personas which are tolerated. 
> 
> I have more problems with the time paradoxes than with the cultural
> breadth.  It was possible (though probably very rare) for an African,
> Chinese, or Central Asian alive in 1550 to end up at the court of
> Elizabeth Tudor.  It is not, and never could have been possible, for
> Egil Skallagrimson to have a dinner conversation with Dr. John Dee.  

One of the SCA historians that I admire teaches that if you are 
*truly* a medieval person, you wouldn't really know that they came 
from another time. For all you would know, this could be from 
someplace you'd heard about and you wouldn't be so rude as to ask 
them where they were from. If they acted strange or dressed strange, 
then that was because they were "foreigners." If you look at it that 
way, then it's a little easier to handle.

An acquaintance of mine did Elizabethan. Her husband did Norman 
France. She used to say that they were Elizabethans but her husband 
was crazy and would "pretend" to be from the past as part of his 
delusion. Worked for them.
 
> >However, it is set up as an inclusive
> > group (with the hope that people will "grow" into the Western
> > Culture part) 
> 
> Why?  I actually think that the SCA's expansion to include non-Western
> European cultures is a good thing.   Just because most Western
> Europeans, in (SCA) period, were unlikely ever to meet a non-Western
> European, does not mean that such creatures did not exist, and
> learning about them can enrich our understanding of what Western
> European culture was like.

Unfortunately, when there are large numbers of people from "outside 
Europe" participating, the focus generally switches to things which 
would *not* enrich the understanding of what Western European 
cultures were like. They become focused on understanding what 
Oriental culture was like. It's a more major shift in focus than 
shifting times, from my point of view, because at least a Viking from 
the 11th C and someone from 16th C Scandinavia have some heritage in 
common. I think this is one of those "YMMV" issues.

> I usually wear my costumes at science fiction conventions (where
> nearly anything sartorial goes) or make costumes specifically for live
> action roleplaying events (an amazing number of which have been based
> on historical events to greater or lesser degrees).  But the SCA
> certainly supplies an excellent venue for the wearing of costume.

However, if you talk to the science fiction crowd, they resent it 
when historical costumers participate in their costumes. It's all a 
matter of perspective.

And there is a short supply of historical groups. (Where I live you 
have a choice between the SCA, frontier reenactment groups and the 
black powder groups where women are not really welcome unless you 
want to do woodsy stuff.) Occasionally there will be a "Jane Austen 
tea" or a "Dickins Ball", but those are pretty few and far between.

Besides, I don't want to just *wear* my costume. I want to learn more 
about how it would be done (which *really* doesn't fit into a SF 
event or the teas/balls.) Shoot, if it weren't for the SCA I'd 
probably still be doing really smuck level costumes (a la Iris 
Brookes and other theatrical costume books) and only wearing them for 
SF or Halloween. There certainly wouldn't have been the mental 
stimulation to learn more about them, let alone to learn how to do 
research that has taken me from the level of Brookes and Peacock to 
doing independent research in London on the extant garments.

While the SCA is not the *ideal* living history group, it is still 
more of a "living history" style of teaching than you'd ever get with 
SF or other events which really are just costume parties.

Kat Russell
<kat@grendal.rain.com>

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Date: Tue, 07 Jan 2003 13:10:48 -0800
Status: RO

--=====================_18169062==.ALT
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I had been a recluse all year. I finally decided to get away from the 
office and went to Gaskells and blamo! I'd swear someone at the event was 
practicing biologic warfare. It was the smallest turnout for Gaskell's I'd 
seen in years - I suspect it was because the germ assassin had been hard at 
work before I arrived. On the bright side,  I lost 7 pounds from the 
ordeal >; )

I'll go to the next Gaskell's in Feb. and am seriously considering 
installing some Austin Power's type anti terrorism devices in my bustle. Ha 
Ha! step on my train will you....

So, are the GSACG doing to do a Day of Morning or another Winchester house 
night this year? I was so sad that I missed both of those and I'd heard 
good thing about them, especially the Winchester event.

Later tater >; )

Gwyn

At 12:09 PM 1/7/2003 -0800, you wrote:
>At 11:02 AM 01/07/2003 -0800, Gwyn Carnegie wrote:
> >   - I was like a Micmac Indian with a new blanket.
>Gwyn, shame on you!  Now there's coffee all over the screen!
>
>Margo
>"One Tough Costumer"

Gwyn Carnegie
University of California at Davis

--=====================_18169062==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
<br>
I had been a recluse all year. I finally decided to get away from the
office and went to Gaskells and blamo!  I'd swear someone at the event
was practicing biologic warfare. It was the smallest turnout for
Gaskell's I'd seen in years - I suspect it was because the germ assassin
had been hard at work before I arrived. On the bright side,&nbsp; I lost
7 pounds from the ordeal &gt;; ) <br><br>
I'll go to the next Gaskell's in Feb. and am seriously considering
installing some Austin Power's type anti terrorism devices in my bustle.
Ha Ha! step on my train will you.... <br><br>
So, are the GSACG doing to do a Day of Morning or another Winchester
house night this year? I was so sad that I missed both of those and I'd
heard good thing about them, especially the Winchester event.<br><br>
Later tater &gt;; )<br><br>
Gwyn<br><br>
At 12:09 PM 1/7/2003 -0800, you wrote:<br>
<blockquote type=cite class=cite cite>At 11:02 AM 01/07/2003 -0800, Gwyn
Carnegie wrote:<br>
&gt;&nbsp;&nbsp; - I was like a Micmac Indian with a new blanket.<br>
Gwyn, shame on you!&nbsp; Now there's coffee all over the
screen!<br><br>
Margo<br>
&quot;One Tough Costumer&quot;</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_18169062==.ALT--

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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 13:19:28 -0800
Status: RO


>But, and here is the hypothesis from this whole thing, wouldn't 
>independent styles and variations develop enough that you could probably 
>tell where a person was from based on their dress.  Not you, but could a 
>medieval woman from say Kent, look at a medieval woman from the Cotswalds 
>and know that because of the weave and color of her gown and the 
>particular cut that she was from this other region.

This does seem to have happened in some places in Europe, where people 
moved around less.  You got what later got called 'folk costumes'.  But I 
hope the regional revival 'folk costumes' of the 1800s doesn't mess up that 
theory.


Kayta

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Date: Tue, 07 Jan 2003 16:32:54 -0500
Status: RO

Okay, has anyone else out there been humming Benny Hill's "Pepys Diary"?


I went to rent a ladie's house she handed me the key.
She said, "It's to be let as it stands with all that you can see."
"And are you to be left with the house?", said I in a saucy tone.
She said, "I'm not to be let with the house, I'm to be let alone!"

Oh we know it's right.
It's in black and white.
And it's all written down in his diary!



...gotta stop watching so many Britcoms.  <gg>
Michelle


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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 14:09:21 -0800
Status: RO

> When I put this matrix together, it makes me wonder... In a medieval
> community, you would have had a reasonably isolated population, the
> higher your social status the less your isolation, you would have had
> a group of growers, a group of spinners and dyers, a group of
> weavers... they would have for the most part served one community. 
> There would be some trade back and forth and some import and export. 
> yes, no?

Yes. But with the more isolated, there would be less trade.

> But, and here is the hypothesis from this whole thing, wouldn't
> independent styles and variations develop enough that you could
> probably tell where a person was from based on their dress.  Not you,
> but could a medieval woman from say Kent, look at a medieval woman
> from the Cotswalds and know that because of the weave and color of her
> gown and the particular cut that she was from this other region.  I
> would think that if, in a community, the people running the dying
> really liked saffron and hated salmon, that everybody in that town
> would be running around in saffron.  same with spinning, if you
> mastered the z spin and couldn't do the s to save your life, then
> probably everybody would be wearing z spun garments.

There would be more of the ability to tell where someone is from 
based on their clothes under those circumstances. We know this from 
the discussions about clothing of Highland Scotland. Different 
families had different areas where they were prominent. And within 
those areas there were different dyestuffs available. Because of 
their relative isolation, the colors they tended to dye the fabric 
for their clothes tended to be those grown nearby. So, one valley 
(with a particular clan) tended to wear garments of a certain color 
combination, where others would have different color combinations. 
This resulted in some of the clan tartans which existed prior to 
1745. (Which were, from all evidence, different from what we call 
"clan tartans" now.) This idea was later (with the help of such 
notables as the Sobieski Stuarts, Sir Walter Scott, a couple of 
fabric manufacturers including Wilsons, and the Crown of England, 
especially Queen Victoria) perverted into the current "clan tartans" 
with which we are now familiar. (Interesting story.)

> And, if the lady of the manor thought that sleeves should be loose,
> then maybe everybody else's sleeves in that area would be looser than
> normal.

To a certain extent this would be true. And it would be more true for 
the ladies than the gentlemen (for the same reason that in the 16th C 
it is difficult to tell a German man's clothing from an Englishman's, 
but it is *very* obvious when you look at the women's styles.) But 
the changes would have been rather subtle and more along the line of 
"what's available for fabric and colors" than with cut of the dress. 
(The local dressmaker would have more to do with this.)

Certainly when you get into the 18th and 19th century it was easy to 
tell someone who was wearing "provincial clothes" made by the local 
dressmaker from someone who had their clothes made by a London 
dressmaker.

Sometimes, though, the difference was not innovation but rather lack 
of change in the clothing. For some areas (like Ireland) the styles 
even in the 15th and early 16th C tended to be about 50 years behind 
those worn in major metropolitan areas. Same thing with provincial vs 
London clothes: they tended to rely more on "old designs". Contrary 
to modern people who seem to think novelty is the most important 
thing for choosing clothes, in the past it was more "go with the 
tried and true unless there is some specific reason to change."
 
> I guess another question I have is how much did the events of the day
> influence what people wore, beyond if people were better off
> financially they had better clothing.  By this I mean did hems really
> rise and fall in response to economic conditions?  Did the huge
> population declines brought on by the plague change how people
> dressed?  Did the collapse of serfdom change anything?

Hooboy! That's enough for an entire book on the subject. The short 
answer, however is that yes, things like the plague and wars and 
crusades did have an impact on the clothing. 

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Hint for making 1913 evening dress
To: h-costume@indra.com
In-Reply-To: <no.id> from "Gwyn Carnegie" at Jan 07, 2003 11:02:19 AM
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Date: Tue, 7 Jan 2003 15:20:06 -0800 (PST)
Status: RO

which one is the Poiret dress?  I am unable to locate it from the 1910
page.  Thanks


> 
> If you can scan the picture of the original dress,  we can help you more. 
> Another option is find a dress that is close here 
> http://www.kci.or.jp/collection/collset-e.html and go from there. As an 
> interesting note, click on the Poiret dress in the 1910 category then drill 
> down using the zoom feature onto the hemline and notice all the tiny 
> dressmakers tacks used on the   outer fabric which is flat lined with a 
> light cotton voile to stabilize the skirt bottom.
> 
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From: Gwyn Carnegie <gacarnegie@ucdavis.edu>
Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Tue, 07 Jan 2003 15:27:49 -0800
Status: RO

--=====================_26389625==.ALT
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Try this link:
  http://www.kci.or.jp/cgi-bin/collection.cgi?lang=e&path=1910/06-002388aa

At 03:20 PM 1/7/2003 -0800, you wrote:
>which one is the Poiret dress?  I am unable to locate it from the 1910
>page.  Thanks
>
> > > If you can scan the picture of the original dress,  we can help you 
> more.
> > Another option is find a dress that is close here
> > http://www.kci.or.jp/collection/collset-e.html and go from there. As an
> > interesting note, click on the Poiret dress in the 1910 category then 
> drill
> > down using the zoom feature onto the hemline and notice all the tiny
> > dressmakers tacks used on the   outer fabric which is flat lined with a
> > light cotton voile to stabilize the skirt bottom.

Gwyn Carnegie
University of California at Davis

--=====================_26389625==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
Try this link:<br>
&nbsp;<a href="http://www.kci.or.jp/cgi-bin/collection.cgi?lang=e&amp;path=1910/06-002388aa" eudora="autourl">http://www.kci.or.jp/cgi-bin/collection.cgi?lang=e&amp;path=1910/06-002388aa</a><br><br>
At 03:20 PM 1/7/2003 -0800, you wrote:<br>
<blockquote type=cite class=cite cite>which one is the Poiret
dress?&nbsp; I am unable to locate it from the 1910<br>
page.&nbsp; Thanks<br><br>
&gt; &gt; If you can scan the picture of the original dress,&nbsp; we can
help you more. <br>
&gt; Another option is find a dress that is close here <br>
&gt;
<a href="http://www.kci.or.jp/collection/collset-e.html" eudora="autourl">http://www.kci.or.jp/collection/collset-e.html</a>
and go from there. As an <br>
&gt; interesting note, click on the Poiret dress in the 1910 category then drill <br>
&gt; down using the zoom feature onto the hemline and notice all the tiny <br>
&gt; dressmakers tacks used on the&nbsp;&nbsp; outer fabric which is flat lined with a <br>
&gt; light cotton voile to stabilize the skirt bottom.<br>
</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_26389625==.ALT--

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From h-costume-admin@indra.com  Tue Jan  7 19:12:49 2003
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From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 19:13:39 -0500
Status: RO

I am new to this list; I have been doing historical clothing for 20 years, 
with (I hope) increasing degrees of accuracy.  In regards to the idea of 
purchasing clothes for their novelty value, wouldn't it be likely that 
poorer people couldn't afford the latest fashions, as well as wearing what 
they were comfortable with?  There's an excellent scene in "Persuasion" 
where the younger people are wearing the Empire-waistline styles, and the 
lady from the previous generation is wearing more "Federal" 
styles---obviously what she was used to wearing.  And certainly events of 
the day influence fashion, but it's hard to pinpoint exactly how.  One 
blatant example is the New Look by Christian Dior in the late 1940's, when 
women had enough fabric to make their skirts really full since they didn't 
have to save resources for the war.  As to the whole SCA/living history 
discussion, I think it's silly for an Elizabethan persona to worry about 
what to say to a pre-Norman Invasion persona, when they all got into their 
cars to drive to a modern building for the event. Perhaps their points of 
discussion can be reduced to common denominators; otherwise, if you're that 
concerned about the interaction, there's undoubtedly a group that focuses on 
the period you want.  And maybe part of the "ideal Middle Ages" is being 
able to relate to everyone you encounter, no matter their background.


Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson


>Certainly when you get into the 18th and 19th century it was easy to
>tell someone who was wearing "provincial clothes" made by the local
>dressmaker from someone who had their clothes made by a London
>dressmaker.
>
>Sometimes, though, the difference was not innovation but rather lack
>of change in the clothing. For some areas (like Ireland) the styles
>even in the 15th and early 16th C tended to be about 50 years behind
>those worn in major metropolitan areas. Same thing with provincial vs
>London clothes: they tended to rely more on "old designs". Contrary
>to modern people who seem to think novelty is the most important
>thing for choosing clothes, in the past it was more "go with the
>tried and true unless there is some specific reason to change."
>
> > I guess another question I have is how much did the events of the day
> > influence what people wore, beyond if people were better off
> > financially they had better clothing.  By this I mean did hems really
> > rise and fall in response to economic conditions?  Did the huge
> > population declines brought on by the plague change how people
> > dressed?  Did the collapse of serfdom change anything?
>

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From h-costume-admin@indra.com  Tue Jan  7 19:35:41 2003
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Subject: [h-cost] Syphilis glasses and other sources?
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Date: Tue, 07 Jan 2003 16:36:55 -0800
Status: RO

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All of my favorite sources seem to be drying up these days.

I'm looking for a pair of  round medical glasses with the dark blue 
syphilis lenses. I'm sure there are some Goth sites that will have 
reproduction glasses cheap. Hopefully someone out there has a source. I can 
go the expensive route and order frames and lenses but I've been saving my 
shekels for a vintage Manton de Manila among other things so I'm crossing 
my fingers.

Danke

Gwyn Carnegie
University of California at Davis

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<br>
All of my favorite sources seem to be drying up these days. <br><br>
I'm looking for a pair of&nbsp; round medical glasses with the dark blue
syphilis lenses. I'm sure there are some Goth sites that will have
reproduction glasses cheap. Hopefully someone out there has a source. I
can go the expensive route and order frames and lenses but I've been
saving my shekels for a vintage Manton de Manila among other things so
I'm crossing my fingers.<br><br>
Danke<br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

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Subject: [h-cost] Re: cotton damask/brocade
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Date: Tue, 07 Jan 2003 19:41:53 -0500
Status: RO

There is the ever-popular G Street Fabrics in Rockville Maryland, and they 
are very good about sending samples if you can be specific as to what you 
want.  Diamond Foam and Fabrics in Los Angeles has vast amounts of 
upholstery fabric; I don't know how they are on mail-order/ samples.  You 
might also want to pick up a sewing magazine and look for ads; I also have a 
vague recollection of a textile-specific organization or web site or 
something, but being a bear of very little brain I can't bring the memory 
back.  (Actually, you'll probably see a post at about 3:00 a.m., when the 
memory does return.)



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson





>From: Carolyn Kayta Barrows <kayta@frys.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com, h-costume@indra.com
>Subject: Re: cotton damask/brocade (was Re: [h-cost] Authenticity Good & 
>Bad
>Date: Tue, 07 Jan 2003 06:51:38 -0800
>
>Sue Clemenger writes, in a message sent 07:00 AM 1/7/03 -0700:
>>Can I *hate* you for that comment, Kayta? After I get the drool out of
>>my keyboard, of course?
>>We have two Hancocks in the entire d@mned state of MT--the nearest is 4?
>>hours away, over a couple of nasty passes.  And a Hancocks *warehouse*?
>>ooooh, baby....I could only wish!
>


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Date: Tue, 07 Jan 2003 17:25:51 -0800
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>(for the same reason that in the 16th C
>it is difficult to tell a German man's clothing from an Englishman's,
>but it is *very* obvious when you look at the women's styles.)

I think you made a mistake here.  German men dressed very differently than 
anyone else in the 1500s, as did men from the various Italian 
states.  There came to be a Protestant look (pluderhosen) and a Catholic 
look (pumpkin pants).  In the early 1500s there is hardly any similarity, 
where at the end of that century there is much more similarity.  Likewise 
German women, and Italian ones, start the 1500s very differently dressed 
from English and French women, and end up looking much more like them by 
the end of the 1500s.

Kayta

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Date: Tue, 07 Jan 2003 17:46:55 -0800
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> >(for the same reason that in the 16th C
> >it is difficult to tell a German man's clothing from an Englishman's,
> >but it is *very* obvious when you look at the women's styles.)
> 
> I think you made a mistake here.  German men dressed very differently
> than anyone else in the 1500s, as did men from the various Italian
> states.  There came to be a Protestant look (pluderhosen) and a
> Catholic look (pumpkin pants). 

Sounds like we are talking about opposite ends of the 1500s. If you 
look at the garments worn in Holbein period men, the German and the 
English are pretty much the same (as opposed to, say Anne of Cleves 
and Jane Seymour or Kateryne Parr.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Syphilis glasses and other sources?
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Date: Tue, 7 Jan 2003 18:12:35 -0800 (PST)
Status: RO

This is a multi-part message in MIME format...

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If you are talking about the sort of glasses worn by Gary Oldman in Dracula.... my sources say "go to www.darksites.com and there are numerous different gothic websites, any of which may have what you are looking for."

Hope this helps.

Best, S

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All of my favorite sources seem to be drying up these days.

I'm looking for a pair of  round medical glasses with the dark blue 
syphilis lenses. I'm sure there are some Goth sites that will have 
reproduction glasses cheap. Hopefully someone out there has a source. I can 
go the expensive route and order frames and lenses but I've been saving my 
shekels for a vintage Manton de Manila among other things so I'm crossing 
my fingers.

Danke

Gwyn Carnegie
University of California at Davis

--=====================_30535500==.ALT
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<html>
<body>
<br>
All of my favorite sources seem to be drying up these days. <br><br>
I'm looking for a pair of&nbsp; round medical glasses with the dark blue
syphilis lenses. I'm sure there are some Goth sites that will have
reproduction glasses cheap. Hopefully someone out there has a source. I
can go the expensive route and order frames and lenses but I've been
saving my shekels for a vintage Manton de Manila among other things so
I'm crossing my fingers.<br><br>
Danke<br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

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Date: Wed, 8 Jan 2003 13:37:32 +1100
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I know the BBC have a programme called Routes of English. There is a book and
CD that accompanies it but I don't know how much they would help.

The website http://www.bbc.co.uk/radio4/routesofenglish/ also has a message
forum so you could ask a professional linguist about it.

Baralier
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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 18:23:36 -0800
Status: RO


> > >(for the same reason that in the 16th C
> > >it is difficult to tell a German man's clothing from an Englishman's,
> > >but it is *very* obvious when you look at the women's styles.)
> >
> > I think you made a mistake here.  German men dressed very differently
> > than anyone else in the 1500s, as did men from the various Italian
> > states.  There came to be a Protestant look (pluderhosen) and a
> > Catholic look (pumpkin pants).
>
>Sounds like we are talking about opposite ends of the 1500s. If you
>look at the garments worn in Holbein period men, the German and the
>English are pretty much the same (as opposed to, say Anne of Cleves
>and Jane Seymour or Kateryne Parr.)

Same end.  Germans men were into exaggerated slashing and multi-colours, 
much in the Italian style, where English men weren't.  There are two 
self-portraits of Albrecht Durer that show this Italian influence.  Male 
garments got more similar as the century proceeded, if you don't count the 
pluderhosen that only Northern European Protestant men wore.  Also, Anna 
von Cleven is not the best example, because while she was German, she wore 
dresses much more like what the English wore than German women from other 
areas of Germany, who dressed more like Italian women, did.

Kayta

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Subject: [h-cost] tea dying wool?
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Date: Tue, 7 Jan 2003 19:16:08 -0800
Status: RO

I just bought some red wool crepe online hoping it would turn out to be a
dark red, but the fabric has arrived and it's a much brighter red than I
would like!  Does anyone have any advice on whether I could tea dye it into
a darker color?  I have to admit I'm a bit of wool novice, so any advice
would be appreciated.

Thanks,

Kendra

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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Is this pretty much standard office wear now?  Are there any jobs that
require women to wear skirts anymore?  I don't really have a sense of
what's current elsewhere.  (My other friends tend to be tech types, and
can get away with wearing jeans and t-shirts to work every day.)


My mother and one of my aunts work religious nonprofit, and there's a 
definite understanding in this part of the country that women in a 
church-type setting should wear skirts.  Even if 3/4 of the females in the 
congregation are wearing pants, the female getting up to give a presentation 
or a sermon better be in a dress or skirt.  Now, if they're staying around 
the office, I think it's personal preference -- when my aunt's office spent 
two weeks cleaning out old files (petty cash receipts from the 70's and the 
like) she wore jeans and a sweatshirt.

Leah

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Is this pretty much standard office wear now?&nbsp; Are there any jobs that<BR>
require women to wear skirts anymore?&nbsp; I don't really have a sense of<BR>
what's current elsewhere.&nbsp; (My other friends tend to be tech types, and<BR>
can get away with wearing jeans and t-shirts to work every day.)<BR>
</BLOCKQUOTE><BR>
<BR>
My mother and one of my aunts work religious nonprofit, and there's a definite understanding in this part of the country that women in a church-type setting should wear skirts.&nbsp; Even if 3/4 of the females in the congregation are wearing pants, the female getting up to give a presentation or a sermon better be in a dress or skirt.&nbsp; Now, if they're staying around the office, I think it's personal preference -- when my aunt's office spent two weeks cleaning out old files (petty cash receipts from the 70's and the like) she wore jeans and a sweatshirt.<BR>
<BR>
Leah</FONT></HTML>

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Subject: Re: [h-cost] tea dying wool?
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Date: Tue, 7 Jan 2003 21:53:48 -0600
Status: RO

I wouldn't try tea dying wool.....especially if you ever plan on washing
it or it might get wet. Tea dying is NOT color fast and will washout
quickly. If you need to dull down the red, you might consider a weak bath
of a regular black/brown dye or if you want to grey/muddy the color a
bit, try a weak green dye. 

My tuppence worth,

Karen

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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing
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Date: Tue, 07 Jan 2003 20:04:04 -0800
Status: RO

Is this pretty much standard office wear now?  Are there any jobs that
require women to wear skirts anymore?  

The female teachers at my children's Waldorf school all wear skirts every
day. I don't know if it's an absolute rule, but apparently it's a fairly
common expectation in Waldorf education. Their outfits are usually of the
frumpy/artsy, crunchy granola variety, long flowing skirts, no tight
fitting clothing.  

Some Waldorf schools  strongly encourage mothers who are volunteering in
the classroom not to wear pants, either.  Our school doesn't, at least no
one's ever mentioned it to me.  And a good thing, too.  

Margo
"One Tough Costumer"


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Subject: [h-cost] Feedback on 1) accents and 2) sewing machines
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Date: Tue, 07 Jan 2003 22:04:38 -0600
Status: RO

Here I am delurking from my usual winter hibernation.  (How old do I have to
be before it's legal for me to go to Florida for the winter?)

1) Re: Accents.  I have been an actor for many years, and have had many
occasions to study and use various accents/dialects.  I now make my living
as a voice-over actress and am frequently called upon to use my dialect
skills.  My experience with Renn Faires has only been as a playtron, but I
am usually mistaken for a cast member.  (All this to present my
qualifications for the following comments...)  In my experience on both
sides of the stage, it's very important not to let your performance become
"about the accent."  If you are at all uncomfortable "wearing" your dialect,
you will spend too much energy worrying if you sound authentic, and your
character or persona will suffer because of it.  If you seem unsure, your
audience will be listening for your mistakes and won't be paying attention
to the action, and your fellow actors will be trying to *not* listen to you
so they won't lose their own focus.  By all means try to find a tape to
listen to - Theatre Bookshop <I think that's their name> in New York has
lots of dialect tapes specifically tailored for actors.  Aside from all
that, the idea is to sound like what your audience will believe is
authentic, not to be really authentic. (with some dialects, if you speak
authentically, no one would be able to understand you anyway!)  And I agree
with Ron, (I think it was his post) that in many cases it's best to use your
own speaking voice, unless the character absolutely demands a dialect.  If
you want to work on sounding "neutral" there are lots of methods of learning
that type of speaking, as well.  Talk to any actors you know, or perhaps a
voice/dialect coach if you live near a big city.  That's my 2 cents plus
some - feel free to email me privately for more discussion!!

2) Re: Sewing machines.  My mother taught me to sew on her mother's Singer.
(Probably from the 1940's.)  I still have it; it's a great machine, though
basic.  Mom later gave me a Necchi, which served me well for many years, but
was never what you would call a fabulous machine - needed lots of tweaking
to maintain consistency.  Almost 2 years ago I decided to spring for a new
one, so I did some internet research about manual, electronic and
computerized machines.  My friends kept telling me I wanted a Bernina or an
Elna.  So I went to my local sewing machine dealers and tried them all.  But
when I sat down at the (used) Viking 1 I knew this was the machine for me.
I LOVE my machine!  The customer service at this store is exceptional, and
they seem to take a personal interest in me and my sewing.  So, for me, the
purchase of a new machine was not only a practical experience, but a
personal one.  I'd be willing to bet that when you find "your" machine,
you'll know.

Happy sewing!

Allison





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Subject: [h-cost] pleating question
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Date: Tue, 7 Jan 2003 22:58:07 -0500
Status: RO

OK all- I know we have been talking pleats in the past, but I don't know if
we have addressed this one:

How were pleats done on German Renaissance dresses (I'm currently working on
a Cranach based dress for a client)?

 I've been told there was a specific way to get the pleats to hang all the
way to the ground.  My thoughts are to make an extra deep pleat (like 4"-6"
deep), pad them, or to take a couple of quick stitches inside to "encourage"
the fabric to pleat the entire way down.

Anyone else want to kick in and idea?

Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander




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Subject: Re: [h-cost] Authenticity Good & Bad
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Date: Tue, 07 Jan 2003 23:12:17 -0500
Status: RO

Hi, All. Once again, the situation of Good and Bad Authenticity is in
the eye of the beholder. Individuals (all of us) had to start somewhere,
and our early efforts were most probably not something that we are
currently proud of, yet they were the best we knew how to do. Others
just starting out need encouragement and not ridicule, so as to learn,
if that is what they want to do, be it a technique of manufacture, a
textile type or the historical background of a type of garment.
Everybody's standards are different, and when we stop being individuals
and join Special Interest Groups, we take on the collective knowledge
and motivations of the group. Reenactors/Living History Groups,
Historical Sites, Museums and the like usually mandate for themselves
standards so that they can do their best to educate the public in as
many ways, and as accurately as possible, clothing being one of the most
obvious clues to the "differentness" of the situation.
    Other groups have slightly different itineraries, including having
fun, sport and entertainment. Authenticity can only be judged to be good
or bad based on the situation in which it is viewed. If you wanted to be
in a group where you had to wear the correct clothing appropriate to
your station, from fit to cloth to jewelry, etc. you would most probably
either find a way to do it, or you would say "No Thanks", and find a way
to do what you wanted and still have fun/spend within your means, etc.
That is why each group exists for the reasons they do. Authenticity
goodness/badness only becomes an issue when a person or group knowingly
lies about something, and passes themselves off as something they are
not. Even then, the fault lies with individuals and groups, not
Authenticity. I would not fault anyone for trying to do something
themselves more authentically, but I would blame them for tactlessness
in not understanding that others either don't want or are not able to
meet their standards. If a person or a group does not want to meet
certain standards, they should certainly not be forced to, but neither
should they sell themselves as something they aren't. This, to me, is
the double standard that makes a weapon of something that isn't meant to
be. Individual use of the term is the danger, not Authenticity itself.
Mike T.



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Subject: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Tue, 07 Jan 2003 22:23:37 -0600
Status: RO

I'm doing a living history bit later this year for a Louisiana Purchase
commemoration.  I've looked for patterns and photos - anything from around
1800.  (The year is actually 1803.)  But I've tumbled into what appears to
be the Bermuda Triangle of costume research.  The documentable research
seems to jump from late 1700's to 1810-ish, the Napoleonic/Regency period.
Can't find much on the in-between years.  The period I need is after the
post-French Revolution styles, but before the structured foundations of the
Regency styles.  I think I'll need some sort of underpinnings to give the
right silhouette, but still remain soft and flowy-Greek and feminine.  And
still have two bosoms, not a monobosom as in the 18th c. corsets.  I've
looked at Sense and Sensibility patterns; they seem to be the best
available, but do I really need a pattern?  I can modify a princess-seam
back from another pattern to make the bodice, the sleeves can also be
modified from an existing pattern, and the skirts are very simple.  But I
can't find a corset pattern.  Does one exist?  Looks like it should be a
long-line non-constricting garment, with a center busk, and a good
strong/stiff upper back, to give the erect posture, but aside from that I am
clueless!  (I'm pretty sure I will need a corset of some sort - I am
"fluffy" with a DD bust, and I don't want to scare small children.)

Any advice?

Allison

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Subject: [h-cost] The pants/jeans thing and office wear
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Date: Tue, 07 Jan 2003 23:27:40 -0500
Status: RO

Leah wrote:

>My mother and one of my aunts work religious nonprofit, and there's a 
>definite understanding in this part of the country that women in a 
>church-type setting should wear skirts.

Once religion goes into the mix, skirts become almost a "must".

In an Orthodox Judaism, women are required to dress modestly; they will 
frequently wear long sleeves and long-ish skirts, and rarely -- if ever -- 
pants. Married women and widows will  cover their heads with wigs, 
kerchiefs, or hats when in public. For a woman to wear pants can be 
considered to be cross-dressing, which is forbidden by the Bible (somewhere 
in Deuteronomy, IIRC; I can't think of the reference offhand).
However, if the pants come from a woman's department and are styled unlike 
the styles made for boys and men, and you're doing something in which your 
health and safety (or your modesty) is at risk if you leave your legs 
uncovered (or covered only by nylons) -- for example, working in a 
chemistry lab -- it is acceptable for a woman to wear pants.
OTOH, I think (I'm not sure) that the Chassidic communities will not even 
allow that much. (It could depend on the sect of Chassidism or the 
particular community...) If in the heat of summer, you should come across a 
prepubescent girl wearing long sleeved shirts with high necklines, long 
skirts that look like they were designed for thirty-something or older 
women, and wearing heavy stockings or tights, she's most likely either 
Muslim or Chassidic. (Muslim if her hair is covered; Chassidic if it is not.)



Brenda
webwarren@earthlink.net


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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] Daggy
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Date: Tue, 7 Jan 2003 20:40:07 -0800
Status: RO

Australian slang.

 Dag - Idiot or unfashionable person, someone that doesn't fit in, but also
a likeable, humorous fellow.  A common phrase is "oh he's such a dag"
 Daggy is an adjective of the same.

Lisa




----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Monday, January 06, 2003 7:12 PM
Subject: Re: [h-cost] authenticity/idiotically unsuitable


> Daggy?
> --sue
>
> Lisa Sinervo wrote:
> >
> > Well that puzzles me, as the ability to wear jeans was a criteria for me
to
> > even consider the school and jeans I definitely wore!  Nice ones though.
> > They also had a rule there that men had to wear sox with their shoes and
> > topsiders or deck shoes, I can't remember the term, were in style and
needed
> > to be worn without sox in order not to look daggy.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Tue, 7 Jan 2003 22:46:13 -0600
Status: RO

Past Patterns has a dress that it is marketing specifically for the Lewis
and Clark period. Go here for details:

http://www.pastpatterns.com/



Karen

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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] Authenticity-pronunciation
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Date: Tue, 7 Jan 2003 20:52:15 -0800
Status: RO

Thanks for all the leads.  Speaking is my area of weakness in re-enactment,
but I have decided to put some attention into this area.  I'm just thankful
that speech nazi's aren't as militant or as prolific as the costume police
or I would really be in trouble.

Lisa


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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 22:17:13 -0700
Status: RO

While I'm aware of the different styles of men's clothing in the 16th
c., I've never heard them differentiated by religion before.  Could you
provide specifics? sources?
--sue, curious

Carolyn Kayta Barrows wrote:
> 
> >(for the same reason that in the 16th C
> >it is difficult to tell a German man's clothing from an Englishman's,
> >but it is *very* obvious when you look at the women's styles.)
> 
> I think you made a mistake here.  German men dressed very differently than
> anyone else in the 1500s, as did men from the various Italian
> states.  There came to be a Protestant look (pluderhosen) and a Catholic
> look (pumpkin pants).  In the early 1500s there is hardly any similarity,
> where at the end of that century there is much more similarity.  Likewise
> German women, and Italian ones, start the 1500s very differently dressed
> from English and French women, and end up looking much more like them by
> the end of the 1500s.
> 
> Kayta
> 
>     //// \\\
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Tue, 07 Jan 2003 22:30:32 -0800
Status: RO


>While I'm aware of the different styles of men's clothing in the 16th
>c., I've never heard them differentiated by religion before.  Could you
>provide specifics? sources?

The idea was mentioned in Davenport, and while I haven't seen specific text 
that says it's true, it seems to be from looking at who wore what.  I am 
certain of it, and I guess I spoke like I was certain.  Here's why:

The Spanish were the big Catholic influence, and Spanish men wore those 
short paned things I call pumpkin pants, and spread the style to anywhere 
they influenced.  The Spanish in the Netherlands wore them, and I think the 
Catholics there who dealt with them did too.  The English, while not 
exactly Catholics, weren't flaming Protestants, and they wore them (I bet 
Philip of Spain introduced them).  The French, mostly Catholic, wore them, 
but as I recall the Hugenots did not.

Pluderhosen seem to have been worn in the German states that were 
Protestant, and their mercenaries spread the style regardless of who hired 
them.  Many German states were Catholic, and I think a comparison of 
portraits, areas, and religions will indicate that these Catholic Germans 
wore the Spanish style instead of pluderhosen.  The Scandinavians, mostly 
Protestant, wore them.  The Dutch people in the Netherlands, mostly 
Protestant, wore them, or baggy trousers shaped like them.

The Italians, while mostly Catholic, wore something like a cross between 
pumpkin pants and pluderhosen - straight-legged, snug-fitting, slashed, 
above-the-knee shorts.  I wasn't counting them because they didn't wear one 
or the other.

Kayta

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To: h-costume@indra.com
Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Wed, 08 Jan 2003 00:24:38 -0800
Status: RO

To Allison-

Here is Farthingale's site with a review of the Mantua Maker's Regency 
Corset, and links to buying the various pieces.

http://www.farthingales.on.ca/regency.php

Good luck,

Theresa Eacker

Allison wrote:

> I'm doing a living history bit later this year for a Louisiana Purchase
> commemoration...I
> can't find a corset pattern.  Does one exist?  Looks like it should be a
> long-line non-constricting garment, with a center busk, and a good
> strong/stiff upper back, to give the erect posture, but aside from that I am
> clueless!  (I'm pretty sure I will need a corset of some sort - I am
> "fluffy" with a DD bust, and I don't want to scare small children.)
> 
> Any advice?
> 
> Allison
> 
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Subject: Re: [h-cost] pleating question
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Date: Wed, 8 Jan 2003 23:53:02 +1300
Status: RO

> How were pleats done on German Renaissance dresses (I'm currently working
on
> a Cranach based dress for a client)?

There are a few ways, and I would highly recommend using a circular base for
the skirt. It means that what ever pleat you do do it will flare well and
the pleats will fold as they do in the paintings. I did a sort of pleat on
my dress based on Mary of Hungary's gown:
http://recital.tripod.com/costume/1520.htm
And you'll see how the skirt naturally wants to fold into deep pleats. There
are a number of skirts that are clearly circular cut both pleated and non. I
think I sent some to the list  a year of so ago, but I can probably find
them again:)

The pleats themselves seem to mostly be knife pleats looking at how they
fold at the hem (all folds pointing in the same direction. But some look
very padded while others simply don't;)

Organ pleats, stacked pleats and rolled pleats are probably the best bet for
those fat round pleats you see:)

Sorry, I'm having a hard time finding my links tonight, will post some if I
find them tomorrow;)

michaela


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] pleating question
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Date: Wed, 08 Jan 2003 04:31:16 -0800
Status: RO


>OK all- I know we have been talking pleats in the past, but I don't know if
>we have addressed this one:
>
>How were pleats done on German Renaissance dresses (I'm currently working on
>a Cranach based dress for a client)?
>
>  I've been told there was a specific way to get the pleats to hang all the
>way to the ground.  My thoughts are to make an extra deep pleat (like 4"-6"
>deep), pad them, or to take a couple of quick stitches inside to "encourage"
>the fabric to pleat the entire way down.

Use thin natural-fibre fabric, like silk velvet, like they did?  I have 
seen quite a few pleat-skirt Germans, and nothing has consistently worked, 
for any of them.  So I'm going to be watching this thread to find out what 
you do that works.


Kayta

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Subject: Re: [h-cost] Daggy
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Date: Wed, 8 Jan 2003 23:41:41 +1100
Status: RO

From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> Australian slang.
>
>  Dag - Idiot or unfashionable person, someone that doesn't fit in, but also
> a likeable, humorous fellow.  A common phrase is "oh he's such a dag"
>  Daggy is an adjective of the same.

Would possibly equate to dork but without the intellectual stigma. Usually a
*simple* person rather than a stupid person.

Go on. Tell them about the sheep reference Lisa...

Baralier
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Date: Wed, 8 Jan 2003 12:49:40 +0000 (GMT)
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> >  I've been told there was a specific way to get the pleats to hang all the
> >way to the ground.  My thoughts are to make an extra deep pleat (like 4"-6"
> >deep), pad them, or to take a couple of quick stitches inside to "encourage"
> >the fabric to pleat the entire way down.

Would sun-ray pleating help? And perhaps (if possible at all with the fabric)
using a damp cloth and pressing in all the pleats all the way down?

I don't know, just a thought.

Nicole - snowed in her home in the South of England. Sheesh!

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Wed Jan  8 07:56:37 2003
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] tea dying wool?
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Date: Wed, 8 Jan 2003 07:57:28 -0500 (EST)
Status: RO

I don't think tea will dye it as dark as you'd like.  Go for an actual
fabric dye; either RIT, or try dharmatrading.com for a good fabric dye
specifically meant for wool.  I've tried to overdye red wool with brown
RIT dye to 'dull' it, and it didn't work as well as I'd have liked (there
is a slight difference in color), so I've been contemplating trying the
latter route myself.  If brown RIT doesn't work, I suspect tea wouldn't
work either.

Cheers,
Mara


On Tue, 7 Jan 2003, Kendra Van Cleave wrote:

> I just bought some red wool crepe online hoping it would turn out to be a
> dark red, but the fabric has arrived and it's a much brighter red than I
> would like!  Does anyone have any advice on whether I could tea dye it into
> a darker color?  I have to admit I'm a bit of wool novice, so any advice
> would be appreciated.
>
> Thanks,
>
> Kendra
>
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Subject: [h-cost] Costumes at historic sites, was Authenticity
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Date: Wed, 8 Jan 2003 08:08:30 -0500 (EST)
Status: RO

The subject of costumes at historic sites came up on another list I'm on
recently (in the context of a particular site having really awful
costumes, probably due to lack of budget to replace them -- no, it's not
any of the sites mentioned in this thread).

I agree with Ron, sometimes it's better for sites not to costume all of
their workers/docents/volunteers.  For example, at Plimouth Plantation, I
found that it was a lot easier to talk to the non-costumed employees,
because I had questions about the differences in what they were doing
(woodworking, shoemaking) and modern techniques.  This is a conversation I
couldn't have had with the costumed interpreters doing first-person
impressions.  But I'm glad both types of interpreters were there.  Also,
at Mount Vernon, the tour guides are all in khaki skirts or pants and polo
shirts, but there are a couple of people doing GOOD first-person
impressions at the site, too; that a) saves the site the trouble and
expense of finding costumes for all their volunteers, b) allows the tour
guides to talk about the changes to the site over time, and the overall
history of the site, and c) allows the people doing a first-person
impression to do it really well, because they don't have to deal with the
kinds of questions that are covered by the non-costumed tour guides.

Another person on the list said that if they didn't offer their docents
the chance to wear costumes at all, they wouldn't have any docents --
apparently the costumes are something the docents really want to do.  So
I'm sure each site varies in its needs.

Cheers,
Mara


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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Wed, 8 Jan 2003 08:18:43 -0500 (EST)
Status: RO

Hi, Allison,
I've got a copy of a paper on a set of very late 18th c. 'transitional'
stays from the Churchill House in England.

These stays are shaped like shortened 18th c. stays, but they only
have boning in the center front (where they lace), the center back, and
possibly along the angled side seam (there are boning channels, but the
boning is missing).  The stays have tabs, but they are unboned.  The
interesting thing about these stays is that they have one triangular bust
gusset on each side.  These stays also have shoulder straps, which they'd
have to, in order to stay up (being high-waisted).  They are dated ca.
1795 to 1810, I think.

I made a set for myself last summer and wore them with a War of 1812
period outfit (petticoat bodice and shortwaisted shortgown); they were
very comfortable.  My friend Kate Johnson made a set for herself and said
they were so comfortable she could sleep in them.  She's also turned up
several other examples in costume collections, for a paper she presented
this fall, so I think they weren't uncommon in the last decade of the 18th
c. when fashions were transitioning from earlier styles to the
high-waisted Regency styles.  To my knowledge, there isn't a pattern
available for this style, though.

I drafted mine up using Drea's Elizabethan Corset Pattern Generator, but
used my under-bust measurement instead of bust measurement for the top
dimension, since I was adding the gussets to accomodate the bustline.

Cheers,
Mara

On Tue, 7 Jan 2003, Allison wrote:
> I'm doing a living history bit later this year for a Louisiana Purchase
> commemoration.  I've looked for patterns and photos - anything from around
> 1800.  (The year is actually 1803.)  But I've tumbled into what appears to
> be the Bermuda Triangle of costume research.  The documentable research
> seems to jump from late 1700's to 1810-ish, the Napoleonic/Regency period.
> Can't find much on the in-between years.  The period I need is after the
> post-French Revolution styles, but before the structured foundations of the
> Regency styles.  I think I'll need some sort of underpinnings to give the
> right silhouette, but still remain soft and flowy-Greek and feminine.  And
> still have two bosoms, not a monobosom as in the 18th c. corsets.  I've
> looked at Sense and Sensibility patterns; they seem to be the best
> available, but do I really need a pattern?  I can modify a princess-seam
> back from another pattern to make the bodice, the sleeves can also be
> modified from an existing pattern, and the skirts are very simple.  But I
> can't find a corset pattern.  Does one exist?  Looks like it should be a
> long-line non-constricting garment, with a center busk, and a good
> strong/stiff upper back, to give the erect posture, but aside from that I am
> clueless!  (I'm pretty sure I will need a corset of some sort - I am
> "fluffy" with a DD bust, and I don't want to scare small children.)
>
> Any advice?
>
> Allison

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: Re: [h-cost] Living History-questions to ponder
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Date: Wed, 08 Jan 2003 13:33:07 +0000
Status: RO

Interesting discussion. In the society I belong to, and I think generally in the UK,  "living history" is used to refer to the people who choose to interact with the public in a period setting (a camp or a historic house), as distinct from those taking part in battles or other displays in front of an audience.

Kate Bunting
Library, University of Derby


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From h-costume-admin@indra.com  Wed Jan  8 08:39:38 2003
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Subject: [h-cost] Re: Any advice on c.1800 patterns/underpinnings?
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Date: Wed, 08 Jan 2003 08:40:30 -0500
Status: RO

On Tue, 07 Jan 2003 22:23:37 -0600, Allison <allivox@comcast.net> WROTE

>I'm doing a living history bit later this year for a Louisiana Purchase
>commemoration.  I've looked for patterns and photos - anything from around
>1800.  (The year is actually 1803.)  But I've tumbled into what appears to
>be the Bermuda Triangle of costume research.  The documentable research
>seems to jump from late 1700's to 1810-ish, the Napoleonic/Regency period.
>Can't find much on the in-between years.  The period I need is after the
>post-French Revolution styles, but before the structured foundations of the
>Regency styles.

Don't know if this will work for the U.S. or France, but there are a couple 
of examples of gowns in PoF1 (c. 1660-1860) that would fit in that frame.

>I think I'll need some sort of underpinnings to give the
>right silhouette, but still remain soft and flowy-Greek and feminine.

While it looks like some of the structure is built into the gowns in PoF, I 
believe I recall some comments in "Seeing Through Clothes" that mentioned 
the types or shapes of undergarments that would have been used in that period.

>And still have two bosoms, not a monobosom as in the 18th c. corsets.

The Arnold sketches look like monobosoms... but that might just be the 
Arnold sketches <eg>.

Hope this helps *some*...


Brenda
webwarren@earthlink.net


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Date: Wed, 8 Jan 2003 9:30:12 -0500
Status: RO


> 
> From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> Date: 2003/01/08 Wed AM 08:33:07 EST
> To: <h-costume@indra.com>
> Subject: Re: Re: [h-cost] Living History-questions to ponder
> 
> Interesting discussion. In the society I belong to, and I think generally in the UK,  "living history" is used to refer to the people who choose to interact with the public in a period setting (a camp or a historic house), as distinct from those taking part in battles or other displays in front of an audience.
> 
> Kate Bunting
> Library, University of Derby
> 
> 
> _______________________________________________
 
 This is a common distinction used by re-enacting groups, but as I mentioned is only a small part of what the term was created to mean.  

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 9:35:03 -0500
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> 
> From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> Date: 2003/01/07 Tue PM 11:52:15 EST
> To: <h-costume@indra.com>
> Subject: Re: [h-cost] Authenticity-pronunciation
> 
> Thanks for all the leads.  Speaking is my area of weakness in re-enactment,
> but I have decided to put some attention into this area.  I'm just thankful
> that speech nazi's aren't as militant or as prolific as the costume police
> or I would really be in trouble.
> 
> Lisa
> 

  They can't be as militant, as in reality we have very little idea what anyone sounded like prior to audio-recording.  It is all just guess work, which is part of the reason that linguists have trouble agreeing on so many things.

    If you are intendiong on contacting Plimoth Plantation, let me know.  I can get you the name of the person and the contact information for the lady who leads up their 1st person interpreters.  I presented with her a few years ago.

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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From h-costume-admin@indra.com  Wed Jan  8 09:38:52 2003
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <20030106200952.89268.qmail@web21406.mail.yahoo.com> <002201c2b5c4$ad5d8540$250477d8@pavilion> <3E1A45A5.753CE7B9@in-tch.com> <005c01c2b6d0$07898120$440277d8@pavilion> <00cb01c2b713$b75aad70$18a231d2@valadan>
Subject: Re: [h-cost] Daggy
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Date: Wed, 8 Jan 2003 06:37:07 -0800
Status: RO

You will have to tell them about the sheep reference Baralier.  I was only a
transplanted American and am not sure that I have heard that one.  Actually
it surprised me to find that daggy was not a word americans use as I had not
intended to use Australian slang, it was just the most apt word to apply.

Lisa



----- Original Message -----
From: "Baralier" <baralier@optusnet.com.au>
To: <h-costume@indra.com>
Sent: Wednesday, January 08, 2003 4:41 AM
Subject: Re: [h-cost] Daggy


> From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> > Australian slang.
> >
> >  Dag - Idiot or unfashionable person, someone that doesn't fit in, but
also
> > a likeable, humorous fellow.  A common phrase is "oh he's such a dag"
> >  Daggy is an adjective of the same.
>
> Would possibly equate to dork but without the intellectual stigma. Usually
a
> *simple* person rather than a stupid person.
>
> Go on. Tell them about the sheep reference Lisa...
>
> Baralier
> --
> It's easier to ask forgiveness than to get permission. - W. Slovotsky
> http://members.optushome.com.au/velvetspyder
> Costumier & Reprobate
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-admin@indra.com  Wed Jan  8 09:41:44 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing  requirements
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Date: Wed, 8 Jan 2003 14:41:58 +0000 (GMT)
Status: RO

Is this pretty much standard office wear now?  Are there any jobs that
> require women to wear skirts anymore?  

If I may add my very strong tupennce here, if anyone told me in anywhere but a
religious setting (where I would never work anyway) that I am required to wear
skirts BECAUSE I am a woman, I would, if I possibly can, see if I can sue those
people. To kingdom come.

I have the very strong belief, that no one, absolutely no one, should be, must
be, could possibly be, discriminated because of their gender, and yes, being
told to have to wear certain things (and that goes for men too, why should men
NOT be allowed to wear skirts???) I consider discrimination when it is because
of the gender, which happens to be determined by genes and not necessarily by
what the person feels he/she is.

I wear what I want at work, and that is never skirts, and most women at work
wear trousers (hehe, I bet they were pants too - remember? Americanism pants =
British trousers, pants here = underwear)

Nicole - as said before, who once very seriously considered a gender-change, if
it were not for - bluntly - that one can 'chop something off, but not sew
something on'.

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing  requirements
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Date: Wed, 8 Jan 2003 14:49:16 -0000
Status: RO

A few schools in the UK insisted girls wore skirts, I think theyt lost every
case that went to court

Possibily at the Bar ? (ie court) I seem to remember my sister always
wearing black skirts

Mel

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To: <h-costume@indra.com>
Subject: RE: [h-cost] tea dying wool?
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Date: Wed, 8 Jan 2003 08:16:55 -0700
Status: RO

I agree with Mara-I have had great success doing similar things with the
Ecru and Bronze dyes from Dharma (Procion). Their vat dying
instructions, available on their website, work very well if you follow
the instructions.  It isn't hard!!  BTY the soda ash is available at
most pool maintenance stores.

Sg



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References: <20030106200952.89268.qmail@web21406.mail.yahoo.com> <002201c2b5c4$ad5d8540$250477d8@pavilion> <3E1A45A5.753CE7B9@in-tch.com> <005c01c2b6d0$07898120$440277d8@pavilion> <00cb01c2b713$b75aad70$18a231d2@valadan> <000c01c2b723$6cddaa80$bc0377d8@pavilion>
Subject: Re: [h-cost] Daggy
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Date: Wed, 8 Jan 2003 07:27:07 -0800
Status: RO

oh no!  You're not talking about the lonely kiwi jokes are u?


----- Original Message -----
From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 08, 2003 6:37 AM
Subject: Re: [h-cost] Daggy


> You will have to tell them about the sheep reference Baralier.  I was only
a
> transplanted American and am not sure that I have heard that one.
Actually
> it surprised me to find that daggy was not a word americans use as I had
not
> intended to use Australian slang, it was just the most apt word to apply.
>
> Lisa
>
>
>
> ----- Original Message -----
> From: "Baralier" <baralier@optusnet.com.au>
> To: <h-costume@indra.com>
> Sent: Wednesday, January 08, 2003 4:41 AM
> Subject: Re: [h-cost] Daggy
>
>
> > From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> > > Australian slang.
> > >
> > >  Dag - Idiot or unfashionable person, someone that doesn't fit in, but
> also
> > > a likeable, humorous fellow.  A common phrase is "oh he's such a dag"
> > >  Daggy is an adjective of the same.
> >
> > Would possibly equate to dork but without the intellectual stigma.
Usually
> a
> > *simple* person rather than a stupid person.
> >
> > Go on. Tell them about the sheep reference Lisa...
> >
> > Baralier
> > --
> > It's easier to ask forgiveness than to get permission. - W. Slovotsky
> > http://members.optushome.com.au/velvetspyder
> > Costumier & Reprobate
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
>
> _______________________________________________
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> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 15:20:39 +0000 (GMT)
Status: RO

 --- r.carnegie@verizon.net wrote: > 
>
>   They can't be as militant, as in reality we have very little idea what
> anyone sounded like prior to audio-recording.  It is all just guess work,
> which is part of the reason that linguists have trouble agreeing on so many
> things.

Well, it is guesswork, but very eduicated guesswork, and actually, at least for
the pronunciation of Old English (I do not venture to speak for Middle and
Early Modern English because I specialised in Old English) there is a commonly
agreed way of prounciation by most scholars. We all know that this is flawed,
but we all hope that it is the least flawed way of pronouncing. Oh what
wouldn't I give for a time machine...

Nicole

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Email: nicole@kipar.org

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To: h-costume@indra.com
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing 
 requirements
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Date: Wed, 8 Jan 2003 11:39:55 -0500 (EST)
Status: RO

On Wed, 8 Jan 2003, [iso-8859-1] N Kipar wrote:
> If I may add my very strong tupennce here, if anyone told me in anywhere but a
> religious setting (where I would never work anyway) that I am required to wear
> skirts BECAUSE I am a woman, I would, if I possibly can, see if I can sue those
> people. To kingdom come.

Interesting choice of words, Nicole...

I think the key here is that the kinds of women who are _likely_ to work
for the sorts of religious organizations that require women to wear skirts
are, themselves, of that religious mindset.  I grew up in a Pentacostal
type of church, and we wore dresses or skirts to church every Sunday, not
because it was required, but because it was the thing that was expected.
Some women went so far as to cover their heads because of the bible verse
about women doing so, but that was optional.  In some Pentacostal sects,
women also don't wear makeup and wear their hair long (put up, if they're
married), but the churches I grew up in weren't quite that strict, either.

If you think about it, these are 'norms' that are held over from the 19th
century or earlier.  If the women in these sects want to follow those
traditions, there's 'no skin off my nose', as the saying goes -- not my
problem.  I'm just glad that those traditions have changed for the rest of
the world, so that we can wear trousers or skirts, or have long or short
hair, as we please.

-- Mara

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Date: Wed, 08 Jan 2003 09:03:22 -0800
Status: RO

--=====================_3728484==.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed


There are a few different schools of thought on how to achieve (or not 
achieve) that tubular looking pleat and whether or not it was just style 
convention in regards to the painters. That is a debate for someone else 
with heavy flame proof clothing >; )

The most successful skirt I made that created this look used a pattern 
which looks much like this http://costume.dm.net/schnittbuch/page20.jpg - 
without the crotch notch obviously - in four parts. The skirt was made of a 
heavy fustian with velvet bands at the bottom. With underskirts, it hung 
almost perfectly.

The top of the skirt was slightly stiffened with a 1" twill tape then 
cartridge pleated directly to the bodice. The pleats were only 1" deep all 
the way around and then I went back over then using an overcast stitch to 
flatten them much like a knife pleat except that there were so many that 
you had to engineer the pleats over each other.

I know it sounds odd. I have access to a digital camera for a bit and 
hopefully I can take photos of the inside the skirt if I'm being too 
confusing. This could take a bit since I'm behind on  photographing some 
madder dye returns for another list member.

Thanks so much Drea for putting the Enn's book on-line!  I love having it 
as a reference instead of saying "I have this photo at home" all the time.

At 10:58 PM 1/7/2003 -0500, you wrote:
>OK all- I know we have been talking pleats in the past, but I don't know if
>we have addressed this one:
>
>How were pleats done on German Renaissance dresses (I'm currently working on
>a Cranach based dress for a client)?
>
>  I've been told there was a specific way to get the pleats to hang all the
>way to the ground.  My thoughts are to make an extra deep pleat (like 4"-6"
>deep), pad them, or to take a couple of quick stitches inside to "encourage"
>the fabric to pleat the entire way down.
>
>Anyone else want to kick in and idea?
>
>Lyn Greaves
>Lady Rosamund d'Alwareton
>COM, COTerpsichore, COSalamander

Gwyn Carnegie
University of California at Davis  
--=====================_3728484==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
<br>
There are a few different schools of thought on how to achieve (or not
achieve) that tubular looking pleat and whether or not it was just style
convention in regards to the painters. That is a debate for someone else
with heavy flame proof clothing &gt;; )<br><br>
The most successful skirt I made that created this look used a pattern
which looks much like this
<a href="http://costume.dm.net/schnittbuch/page20.jpg" eudora="autourl">http://costume.dm.net/schnittbuch/page20.jpg</a>
- without the crotch notch obviously - in four parts. The skirt was made of a heavy fustian with velvet bands at the bottom. With underskirts, it hung almost perfectly. <br><br>
The top of the skirt was slightly stiffened with a 1&quot; twill tape then cartridge pleated directly to the bodice. The pleats were only 1&quot; deep all the way around and then I went back over then using an overcast stitch to flatten them much like a knife pleat except that there were so many that you had to engineer the pleats over each other.<br><br>
I know it sounds odd. I have access to a digital camera for a bit and hopefully I can take photos of the inside the skirt if I'm being too confusing. This could take a bit since I'm behind on&nbsp; photographing some madder dye returns for another list member.<br><br>
Thanks so much Drea for putting the Enn's book on-line!&nbsp; I love having it as a reference instead of saying &quot;I have this photo at home&quot; all the time.<br><br>
At 10:58 PM 1/7/2003 -0500, you wrote:<br>
<blockquote type=cite class=cite cite>OK all- I know we have been talking pleats in the past, but I don't know if<br>
we have addressed this one:<br><br>
How were pleats done on German Renaissance dresses (I'm currently working on<br>
a Cranach based dress for a client)?<br><br>
&nbsp;I've been told there was a specific way to get the pleats to hang all the<br>
way to the ground.&nbsp; My thoughts are to make an extra deep pleat (like 4&quot;-6&quot;<br>
deep), pad them, or to take a couple of quick stitches inside to &quot;encourage&quot;<br>
the fabric to pleat the entire way down.<br><br>
Anyone else want to kick in and idea?<br><br>
Lyn Greaves<br>
Lady Rosamund d'Alwareton<br>
COM, COTerpsichore, COSalamander<br>
</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis </font></b></body>
</html>

--=====================_3728484==.ALT--

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Subject: Re: [h-cost] Daggy
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Date: Wed, 8 Jan 2003 07:43:14 -0800
Status: RO

If you said "daggy" to me, I would assume you were referring to sleeves.
;)

Arlys

On Wed, 8 Jan 2003 06:37:07 -0800 "Lisa Sinervo"
<lisa-list@threadneedlest.com> writes:
> You will have to tell them about the sheep reference Baralier.  I was 
> only a
> transplanted American and am not sure that I have heard that one.  
> Actually
> it surprised me to find that daggy was not a word americans use as I 
> had not
> intended to use Australian slang, it was just the most apt word to 
> apply.
> 
> Lisa


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] The pants/jeans thing and impractical clothing  requirements
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Date: Wed, 8 Jan 2003 17:24:16 +0000 (GMT)
Status: RO

 --- Kevin & Mara Riley <lindo@Radix.Net> wrote: > 

> If you think about it, these are 'norms' that are held over from the 19th
> century or earlier.  If the women in these sects want to follow those
> traditions, there's 'no skin off my nose', as the saying goes -- not my
> problem.  

Well, that's what I said - or at least tried to say (unless I used the wrong
English) I said anywhere _but_ in a religious setting. It is not my business
what people believe or not believe and thus wear or not wear. Skirts or
trousers or veils or not, just not my business. If I went to a strictly muslim
country as a visitor I would certainly cover myself up completely in the
required way, because it is their ways and their country, and the same goes
vice versa for people visiting my country.

religion is completely a thing of its own, which is not my business because
none of any religions is mine, but any place that is secular and tells women
they are required to wear skirts for the sake of it (and no other justifiable
reason) but because they think it is 'prettier' would find themselves
confronted with wrath. Or, as mel said, she doesn't know of a school that did
not _lose_ their court cases.

Tradition, too, is something else in certain matters, where a skirt is similar
to a robe, and more costume than clothing, see the courts, where in England
they appear to be 'costumed' (not meant in any derogatory way).

Anyway, enough of that, it isn't historical costume related and thus this shall
be my last post about this topic so close and burning to my heart.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Wed, 08 Jan 2003 09:24:58 -0800
Status: RO


> > > >(for the same reason that in the 16th C
> > > >it is difficult to tell a German man's clothing from an
> > > >Englishman's, but it is *very* obvious when you look at the
> > > >women's styles.)
> > >
> > > I think you made a mistake here.  German men dressed very
> > > differently than anyone else in the 1500s, as did men from the
> > > various Italian states.  There came to be a Protestant look
> > > (pluderhosen) and a Catholic look (pumpkin pants).
> >
> >Sounds like we are talking about opposite ends of the 1500s. If you
> >look at the garments worn in Holbein period men, the German and the
> >English are pretty much the same (as opposed to, say Anne of Cleves
> >and Jane Seymour or Kateryne Parr.)
> 
> Same end.  Germans men were into exaggerated slashing and
> multi-colours, much in the Italian style, where English men weren't. 

While there were some who were more into the slashing, many weren't. 
There are many portraits from that period which are basically 
indistinguishable whether they are German or English. Also, there are 
Englishmen wearing lots of slashing as well.

> There are two self-portraits of Albrecht Durer that show this Italian
> influence.  Male garments got more similar as the century proceeded,
> if you don't count the pluderhosen that only Northern European
> Protestant men wore.  Also, Anna von Cleven is not the best example,
> because while she was German, she wore dresses much more like what the
> English wore than German women from other areas of Germany, who
> dressed more like Italian women, did.

In the portrait of Anne of Cleves by Holbein she is wearing a dress 
which is typical of her homeland. It, at least to my eyes, doesn't 
look anything like what was being worn in England or France at the 
time, especially in the cut of the bodice and the sleeves.

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 09:24:11 -0800
Status: RO

At 9:35 AM -0500 1/8/03, <r.carnegie@verizon.net> wrote:
>  >
>>  From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
>>  Date: 2003/01/07 Tue PM 11:52:15 EST
>>  To: <h-costume@indra.com>
>>  Subject: Re: [h-cost] Authenticity-pronunciation
>>
>>  Thanks for all the leads.  Speaking is my area of weakness in re-enactment,
>>  but I have decided to put some attention into this area.  I'm just thankful
>>  that speech nazi's aren't as militant or as prolific as the costume police
>>  or I would really be in trouble.
>>
>>  Lisa
>>
>
>   They can't be as militant, as in reality we have very little idea 
>what anyone sounded like prior to audio-recording.  It is all just 
>guess work, which is part of the reason that linguists have trouble 
>agreeing on so many things.
>

Well ... it depends on what you mean by "very little idea".  We _do_ 
know vastly more about historic language and pronunciation than is 
typically reflected in pretty much even the most careful attempts at 
historic presentation.  The disconnect between the available language 
and the re-enactment practice tends to be much more from the scarcity 
of serious interaction between the historic linguistics and 
re-enactment/theater communities, and the steepness of the learning 
curve for those trying to understand and apply the historic knowledge 
that does exist, given that you can't just say, "Here's a tape, study 
and imitate it."  When the knowledge is expressed in forms like, "in 
the second half of the century, the palatalization of alveolar stops 
before non-low front vowels began to shift more to fricatives in 
unstressed onsets" [made-up, but plausible, example] there's an extra 
layer of "translation" needed for the average person to use the 
information.

I spend a lot of time trying to describe to non-specialists (in ascii 
e-mail yet!) historic pronunciation of something as simple as 
personal names -- there are times when you want to throw up your 
hands and tell everyone "go learn IPA and then come back and talk to 
me" which, of course, is an unreasonable expectation (so I just 
_think_ it instead of saying it).

I guess that, as a historic linguist, I'm bristling a bit at having 
my field called "all just guess work" as if it were somehow _more_ 
guesswork than historic costuming is!

Heather
(ask me about medieval Welsh prepositions ... I dare ya!)
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: Re: [h-cost] Living History-questions to ponder
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Date: Wed, 8 Jan 2003 09:33:07 -0800
Status: RO

At 9:30 AM -0500 1/8/03, <r.carnegie@verizon.net> wrote:
>  >
>>  Interesting discussion. In the society I belong to, and I think 
>>generally in the UK,  "living history" is used to refer to the 
>>people who choose to interact with the public in a period setting 
>>(a camp or a historic house), as distinct from those taking part in 
>>battles or other displays in front of an audience.
>>
>>  Kate Bunting
>  > Library, University of Derby
>
>  This is a common distinction used by re-enacting groups, but as I 
>mentioned is only a small part of what the term was created to mean.

Which, of course, is one of those problems with language -- those 
darn words never quite stay put meaning what they were created to 
mean.  It seems to me that a number of the common meanings of terms 
for the general field have evolved into more specific or narrow 
meanings because people find having a technical term for that meaning 
to be very useful.  For example, people seem to find it useful to 
have a term that distinguishes between a formal/professional 
"educational interpretation" function and less ... um ... 
"institutionalized"(?) activities.  Similarly, it seems to be useful 
to be able to distinguish easily between activities that are designed 
to act out a specific historic vent as contrasted with activities 
that act out a general historic context and setting.  As these needs 
(or desires) develop, the terminology either gets adapted or invented 
to fill them -- and the most vituperative arguments I've seen between 
people interested in different flavors of the general historic field 
seems to come in when they're using the same words with different 
meanings.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 18:15:13 +0000 (GMT)
Status: RO

 --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >
> Well ... it depends on what you mean by "very little idea".  We _do_ 
> know vastly more about historic language and pronunciation than is 
> typically reflected in pretty much even the most careful attempts at 
> historic presentation. 

Actually, I always happily whip out some Old English when doing Anglo-Saxon
living history, either when asked to do so or when confronted with - rarely
happens - 'ah but ya don't talk like 'em/don't know how to talk like 'em' etc
etc. I usually smile sweetly into their totally flabberghasted faces because
they can't understand a word. Then I use a sentence that is still quite similar
'thaet waes god cyning' to gently make them feel better, and they never ask
again why we 'don't talk like 'em'.
Very often though it is really nice, people who are genuinally interested and
smile happily when I recite Beowulf or other poetry for them. 

 The disconnect between the available language 
> and the re-enactment practice tends to be much more from the scarcity 
> of serious interaction between the historic linguistics and 
> re-enactment/theater communities, and the steepness of the learning 
> curve for those trying to understand and apply the historic knowledge 
> that does exist, given that you can't just say, "Here's a tape, study 
> and imitate it." 

Heather, I have been asking myself throughout your very interesteing post,
about WHICH period of language study are you talking about?

 When the knowledge is expressed in forms like, "in 
> the second half of the century, the palatalization of alveolar stops 
> before non-low front vowels began to shift more to fricatives in 
> unstressed onsets" [made-up, but plausible, example] there's an extra 
> layer of "translation" needed for the average person to use the 
> information.

*giggle* Oh bliss, sounds like the good old days.  

> I spend a lot of time trying to describe to non-specialists (in ascii 
> e-mail yet!) historic pronunciation of something as simple as 
> personal names -- there are times when you want to throw up your 
> hands and tell everyone "go learn IPA and then come back and talk to 
> me" which, of course, is an unreasonable expectation (so I just 
> _think_ it instead of saying it).

actually, I think it IS a good idea for anyone who is remotely interested in
linguistics, historic or otherwise. 

> I guess that, as a historic linguist, I'm bristling a bit at having 
> my field called "all just guess work" as if it were somehow _more_ 
> guesswork than historic costuming is!

a) I don't think that it was meant that way (I hope...) and b) I ask again,
because I am curious, which period do you specialise in?

> Heather
> (ask me about medieval Welsh prepositions ... I dare ya!)

Nope, sorry, I think anything Welsh is at the absolute bottom of any of my
interest lists. *laughs* (or is this in England-insider joke?)

Nicole

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Email: nicole@kipar.org

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To: h-costume@indra.com
Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Wed, 08 Jan 2003 13:25:43 -0500
Status: RO

Nancy Bradfield has a couple of 1790-1800 dresses; you might also want to 
try C.W. Cunnington's English Women's Clothing in the 19th century.  Another 
possibility is the "Creole" dress popularized in Europe by Marie Antoinette 
(that created a furore when she had her portrait painted).



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson

>On Tue, 7 Jan 2003, Allison wrote:
> > I'm doing a living history bit later this year for a Louisiana Purchase
> > commemoration.  I've looked for patterns and photos - anything from 
>around
> > 1800.  (The year is actually 1803

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Date: Wed, 8 Jan 2003 13:39:27 -0500
Status: RO

GFD's???

> office that is slightly more casual, so I can wear
> some of my garb as well, like GFD's with no tippets or
> obtrusive decoration, or a walking suit.
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Subject: GFD, was Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Wed, 8 Jan 2003 18:52:03 +0000 (GMT)
Status: RO

 --- Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote: > 

GFD's???

It's the new fad that was started here: the gothic fitted dress thingy.

Nicole

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Date: Wed, 8 Jan 2003 13:55:26 -0500
Status: RO

I know the living history is supposed to be over, but I just want to say I
love the SCA because what I like about costuming is the history, the
evolution of clothing through time. Most living history groups focus on one
short and precise period of time, while what I like is to jump from period
to period.

Though I do go beyond SCA timeframe. I'm interested in costuming between the
10th century and the 1960s...
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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
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Subject: Re: GFD, was Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Wed, 8 Jan 2003 14:13:39 -0500
Status: RO

> 
> GFD's???
> 
> It's the new fad that was started here: the gothic fitted dress thingy.
> 


Oh yes, I remember now... how coud I ever have forgotten that... ;-P
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: GFD, was Re: [h-cost] The pants/jeans thing and impractical
 clothing requirements
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Date: Wed, 8 Jan 2003 13:51:55 -0600 (CST)
Status: RO


Audrey wrote:
> > GFD's???

Nicole replied:
> It's the new fad that was started here: the gothic fitted dress thingy.

I am seriously thinking of making for CostumeCon (my first) a black GFD to
wear with heavy makeup, black nail enamel, a black lace veil, and maybe
some fishnet stockings and black leather boots. It would be a Goth fitted
dress, of course. I probably won't be able to get my act together in time
to sew it, but where else could I pull that one? (And what else would I
need to complete the outfit?)

--Robin


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Subject: [h-cost] UK members - reenactors fair
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Date: Wed, 8 Jan 2003 19:33:41 +0000
Status: RO

For the information of UK list-members.

Jean


 >##############################
 >
 >After the problems with the venue at the November Event - notably
 >parking versus weather, the organiser has procured a New Venue for
 >the
 >March '03 Event. It will now take place at
 >
 >THE CONNEXION LEISURE CLUB.
 >LEAMINGTON ROAD
 >RYTON ON DUNSMORE,
 >COVENTRY.
 >
 >New dates for Anne Lavericks Original Re-enactors Market are 7th 8th
 >& 9th March 2003.
 >Please help us spread this information by posting it everywhere you
 >can think of.
 >
 >#####################


-- 
Jean Waddie
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] pleating question
References: <000701c2b6cb$b2ba3800$01fea8c0@livingroom>
 <002901c2b704$1e458560$22c2adcb@michaela>
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Date: Wed, 8 Jan 2003 19:52:02 +0000
Status: RO

michaela <thebruce@ihug.co.nz> wrote
>> How were pleats done on German Renaissance dresses (I'm currently working
>on
>> a Cranach based dress for a client)?
>
>There are a few ways, and I would highly recommend using a circular base for
>the skirt. It means that what ever pleat you do do it will flare well and
>the pleats will fold as they do in the paintings. I did a sort of pleat on
>my dress based on Mary of Hungary's gown:
>http://recital.tripod.com/costume/1520.htm
>And you'll see how the skirt naturally wants to fold into deep pleats. There
>are a number of skirts that are clearly circular cut both pleated and non. I
>think I sent some to the list  a year of so ago, but I can probably find
>them again:)
>
On first reading, I thought, that makes so much sense!  Because 
obviously a circular skirt hangs in pleats.  But how do you cut it big 
enough around the waist to get loads of pleats in?

Jean


>The pleats themselves seem to mostly be knife pleats looking at how they
>fold at the hem (all folds pointing in the same direction. But some look
>very padded while others simply don't;)
>
>Organ pleats, stacked pleats and rolled pleats are probably the best bet for
>those fat round pleats you see:)
>
>Sorry, I'm having a hard time finding my links tonight, will post some if I
>find them tomorrow;)
>
>michaela
>
>
>_______________________________________________
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>h-costume@mail.indra.com
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Subject: Re: [h-cost] The pants/jeans thing and impractical clothing requirements
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Date: Wed, 8 Jan 2003 20:05:51 +0000
Status: RO

I had a serious strop a work a few weeks ago, when our Health and 
Welfare department arranged a "stress-down" day, saying that if you 
filled in their "fun" questionnaire about reducing stress, you would 
"qualify" to wear whatever you liked the next Friday.  I pointed out 
that since we don't have a formal dress code, I can wear whatever I like 
any day I feel like it and I don't need their *@!%* permission.

Probably the majority of women wear skirts or formal suits with trousers 
(pant suit is too American for me to say - trouser suit is too 70's) any 
time they're expecting to meet outside contacts, but more casual clothes 
are acceptable any time, and real scruff is fine if you're expecting to 
be clearing out files or moving offices.  Civil Service, Scottish 
variety (we tend to be less formal than the London departments)

Jean

LLWatts@aol.com wrote
>
>Is this pretty much standard office wear now?  Are there any jobs that
>require women to wear skirts anymore?  I don't really have a sense of
>what's current elsewhere.  (My other friends tend to be tech types, and
>can get away with wearing jeans and t-shirts to work every day.)
>
>
>My mother and one of my aunts work religious nonprofit, and there's a
>definite understanding in this part of the country that women in a
>church-type setting should wear skirts.  Even if 3/4 of the females in the
>congregation are wearing pants, the female getting up to give a
>presentation or a sermon better be in a dress or skirt.  Now, if they're
>staying around the office, I think it's personal preference -- when my aunt's
>office spent two weeks cleaning out old files (petty cash receipts from the
>70's and the like) she wore jeans and a sweatshirt.
>
>Leah

-- 
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Date: Wed, 8 Jan 2003 15:01:34 -0500
Status: RO

<<<As to the whole SCA/living history 
discussion, I think it's silly for an Elizabethan persona to worry about 
what to say to a pre-Norman Invasion persona, when they all got into
their 
cars to drive to a modern building for the event. Perhaps their points of

discussion can be reduced to common denominators; otherwise, if you're
that 
concerned about the interaction, there's undoubtedly a group that focuses
on 
the period you want.  And maybe part of the "ideal Middle Ages" is being 
able to relate to everyone you encounter, no matter their background.>>>

        Whoa, Nancy, I didn't mean to start a war.  I just made the
comment that it is difficult to talk to and Elizabethan about her queen
when her queen hasn't even been born in the time of my persona.  The
problem with us all driving there in our cars is that we tend to just
give up trying to make period talk because of the time problems and end
up talking about mundane things.  I was not critiquing SCA or any group. 
I have only been playing a year or so and have a hard time trying to stay
in my persona at the best of times.  I take exception to people who just
unkindly say "if you aren't right in line with the way we play, go away".
 It takes a modern person a while to adapt to the middle ages (specially
a 68 year old modern person).

        Sorry if I offended you or your group.  It was unintentional.

Lalah
Never give up, Never surrender
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From: annora <lisleong@k12.hi.us>
Subject: Re: [h-cost] pleating question
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Date: Wed, 08 Jan 2003 11:19:50 -1000 (HST)
Status: RO

> On first reading, I thought, that makes so much sense!  Because
> obviously a circular skirt hangs in pleats.  But how do you cut it big
> enough around the waist to get loads of pleats in?

	I seamed together 7 trapezoidal gores which ended up looking like
a huge doughnut.  It involved a bit of math but the hole circumference was
the length of fabric needed for each pleat x number of pleats (which I got
by dividing my waist measurement by the width of each pleat top).

	Although I don't have a copy, Julie Adams (no longer on this
list?) did a write up on how to make organ pipe pleats.  There's a picture
and a pattern for a man's waffenrock with these pleats in Blanche Payne's
History of Costume, first ed.

	IIRC, you sew a tiny tuck partway down the edge of each pleat and
from the inside, tack them to a lining.  That holds the pleat's shape
until at least hip level and the rest of the skirt falls nicely continuing
the line.

--annora

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From: =?iso-8859-1?q?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 22:23:12 +0000 (GMT)
Status: RO

 --- N Kipar <nicolas_fouquet@yahoo.com> wrote: 

> Actually, I always happily whip out some Old English
> when doing Anglo-Saxon
> living history, ... I recite Beowulf or other poetry
> for them. 

In that case, let me make one public request before
moving this off-topic discussion to private email: do
you know of a decent recording of Beowulf: the
original, not a translation? I'd love to know what its
meant to sound like.


> > Heather
> > (ask me about medieval Welsh prepositions ... I
> dare ya!)

Dare possibly taken.... the other thing I really
should do to improve my "persona" is learn to talk
Welsh (or rather, Brythonic) as it was spoken in the
late 6th century in what is now southern Scotland.
Only I'm not a linguist, and have no idea where to
start. It sounds as if you do? Again, replies off-list
would probably be best?



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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: [h-cost] pleating question
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Date: Wed, 08 Jan 2003 22:25:03 +0000
Status: RO

I've been looking at pleating techniques recently, and according to my Good 
Housekeeping book on sewing, "sun burst" pleats would work well for circular 
skirts. My question is: are "sun burst pleats" the same thing as "organ pipe 
pleats"? If not, what's the difference?

Mary/Katerine

> > On first reading, I thought, that makes so much sense!  Because
> > obviously a circular skirt hangs in pleats.  But how do you cut it big
> > enough around the waist to get loads of pleats in?
>
>	I seamed together 7 trapezoidal gores which ended up looking like
>a huge doughnut.  It involved a bit of math but the hole circumference was
>the length of fabric needed for each pleat x number of pleats (which I got
>by dividing my waist measurement by the width of each pleat top).
>
>	Although I don't have a copy, Julie Adams (no longer on this
>list?) did a write up on how to make organ pipe pleats.  There's a picture
>and a pattern for a man's waffenrock with these pleats in Blanche Payne's
>History of Costume, first ed.
>
>	IIRC, you sew a tiny tuck partway down the edge of each pleat and
>from the inside, tack them to a lining.  That holds the pleat's shape
>until at least hip level and the rest of the skirt falls nicely continuing
>the line.
>
>--annora
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Re: [h-cost] Authenticity-pronunciation
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Date: Wed, 8 Jan 2003 23:07:07 +0000 (GMT)
Status: RO

 --- Jane Williams <janewilliams20@yahoo.co.uk> wrote: > 
> In that case, let me make one public request before
> moving this off-topic discussion to private email: do
> you know of a decent recording of Beowulf: the
> original, not a translation? I'd love to know what its
> meant to sound like.

Quick public answer, in case anyone else is interested.
My favourite one is:

Beowulf: In Old English Read by J. D. Bessinger, Jr. (audio cassette)

But the title is misleading: This audio cassette has magnificent readings of
several Old English poems, with only a portion of Beowulf. Still, the
narrations are powerful, and this tape provides a wonderful opportunity to hear
Old English spoken well.

More info for the same:
Beowulf Read in Old English. 1996. Read by J. B. Bessinger, Jr. Caedmon Audio
CPN 1161. ISBN 0-69451-701-1. Remastered from the 1962 recording; includes
Cædmon's Hymn, The Dream of the Rood, The Wanderer, The Battle of Brunanburh,
The Wife's Lament (Side 1) and selected passages from Beowulf (Side 2).

More passages of Beowulf:

# Beowulf Read in Old English. 1983. Read by Norman Davis and Nevill Coghill.
Spoken Arts 918. ISBN 0-8045-0918-2. Audiocassette, with an overview of
pronunciation and meter (Side 1) and selected passages from the poem (Side 2).
Available from:

	Spoken Arts
	310 North Avenue
	New Rochelle, NY 10801
	(914) 636-5482

For any other passages, drop me a mail, invite me to a feast, promise me some
ale, and I'll read it for you, as long as as much as you like (or can bear). I
am one of the nowadays few people who were treated to a very thorough
(painstaking, long-time, painful?) teaching of how it is believed Old English
(in its various dialects and at veraiour times in the period, before and after
palatalisation) should be pronounced. Gotta love my old Prof.  :-)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Daggy
To: h-costume@indra.com
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Date: Thu, 9 Jan 2003 11:19:21 +1100 (EST)
Status: RO

 --- Baralier <baralier@optusnet.com.au> wrote: >
From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
> > Australian slang.
> >
> >  Dag - Idiot or unfashionable person, someone that
> doesn't fit in, but also
> > a likeable, humorous fellow.  A common phrase is
> "oh he's such a dag"
> >  Daggy is an adjective of the same.
> 
> Would possibly equate to dork but without the
> intellectual stigma. Usually a
> *simple* person rather than a stupid person.
> 
> Go on. Tell them about the sheep reference Lisa...


Since neither Lisa nor Baralier have done so, I'll be
brave (or stupid) and tell you about what a dag is in
relation to sheep. From the Australian Concise Oxford
Dictionary:

"dag: a lock of wool clotted with dung on the hinder
parts of a sheep. (dagged, dagging) remove dags from a
sheep."


Sorry. Makes you see dagged clothing in another light
no? :)


Bella

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Thu, 9 Jan 2003 11:27:24 +1100 (EST)
Status: RO

 --- Carolyn Kayta Barrows <kayta@frys.com> wrote: > 
<snipped>
> The Italians, while mostly Catholic, wore something
> like a cross between 
> pumpkin pants and pluderhosen - straight-legged,
> snug-fitting, slashed, 
> above-the-knee shorts.  I wasn't counting them
> because they didn't wear one 
> or the other.


>From my limited research into male clothing, Italian
men wore both pumpkin pants and venetians.



Bella

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Date: Wed, 08 Jan 2003 16:38:04 -0800
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I wanted to find the perfectly round frames. Apparently they are all listed 
under "Ozzy" or "Lennon" and not syphilis or victorian medical and looking 
under gothic mostly got me goggle sites. Thanks for the tip though >; )

Gwyn

At 06:12 PM 1/7/2003 -0800, you wrote:
>If you are talking about the sort of glasses worn by Gary Oldman in 
>Dracula.... my sources say "go to www.darksites.com and there are numerous 
>different gothic websites, any of which may have what you are looking for."
>
>Hope this helps.
>
>Best, S
>
>Gwyn Carnegie
>University of California at Davis

--=====================_31008281==.ALT
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<html>
<body>
<br>
I wanted to find the perfectly round frames. Apparently they are all
listed under &quot;Ozzy&quot; or &quot;Lennon&quot; and not syphilis or
victorian medical and looking under gothic mostly got me goggle sites.
Thanks for the tip though &gt;; )<br><br>
Gwyn<br><br>
At 06:12 PM 1/7/2003 -0800, you wrote:<br>
<blockquote type=cite class=cite cite>If you are talking about the sort
of glasses worn by Gary Oldman in Dracula.... my sources say &quot;go to
<a href="http://www.darksites.com/" eudora="autourl">www.darksites.com</a>
and there are numerous different gothic websites, any of which may have what you are looking for.&quot;<br><br>
Hope this helps.<br><br>
Best, S<br><br>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis </font></b></blockquote></body>
</html>

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From h-costume-admin@indra.com  Wed Jan  8 20:24:43 2003
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Date: Thu, 9 Jan 2003 12:25:23 +1100 (EST)
Status: RO

 --- Gwyn Carnegie <gacarnegie@ucdavis.edu> wrote: > 
> I wanted to find the perfectly round frames.
> Apparently they are all listed 
> under "Ozzy" or "Lennon" and not syphilis or
> victorian medical and looking 
> under gothic mostly got me goggle sites. Thanks for
> the tip though >; )


I was going to browse RenSpecs for you but I see that
they have closed up shop. Pity, there was some really
good info there.


Bella


http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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From h-costume-admin@indra.com  Wed Jan  8 23:32:35 2003
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Date: Thu, 09 Jan 2003 04:33:51 +0000
Status: RO

Perhaps a black "leather" collar? And DEFINITELY heavy black eye liner!! 
(Got a whip?)

:)

Mary/Katerine

>I am seriously thinking of making for CostumeCon (my first) a black GFD to
>wear with heavy makeup, black nail enamel, a black lace veil, and maybe
>some fishnet stockings and black leather boots. It would be a Goth fitted
>dress, of course. I probably won't be able to get my act together in time
>to sew it, but where else could I pull that one? (And what else would I
>need to complete the outfit?)
>
>--Robin
>
>
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Date: Wed, 08 Jan 2003 22:06:18 -0700
Status: RO

A whip, of course, dear!
And a camera, for pictures (this, I've *got* to see!).
--sue, already giggling <g>

Robin Netherton wrote:
> 
> Audrey wrote:
> > > GFD's???
> 
> Nicole replied:
> > It's the new fad that was started here: the gothic fitted dress thingy.
> 
> I am seriously thinking of making for CostumeCon (my first) a black GFD to
> wear with heavy makeup, black nail enamel, a black lace veil, and maybe
> some fishnet stockings and black leather boots. It would be a Goth fitted
> dress, of course. I probably won't be able to get my act together in time
> to sew it, but where else could I pull that one? (And what else would I
> need to complete the outfit?)
> 
> --Robin
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Date: Wed, 08 Jan 2003 22:11:20 -0700
Status: RO

I had the very great pleasure, many years ago (10? maybe), to hear
someone recite a portion of Beowulf, in the appropriate
dialect/language.  It was jaw-dropping cool!
The lady doing it was entertaining at a private feast at an SCA war
(Estrella), so that atmosphere was very congenial.
I've always regretted not being able to take classes in learning how to
recite poetry like that (or later stuff).  My English lit classes mostly
treated it like, well, literature, to be read silently, and critiqued
and diagrammed into the ground.  Blech.
--sue

N Kipar wrote:
> 

> Actually, I always happily whip out some Old English when doing Anglo-Saxon
> living history, either when asked to do so or when confronted with - rarely
> happens - 'ah but ya don't talk like 'em/don't know how to talk like 'em' etc
> etc. I usually smile sweetly into their totally flabberghasted faces because
> they can't understand a word. Then I use a sentence that is still quite similar
> 'thaet waes god cyning' to gently make them feel better, and they never ask
> again why we 'don't talk like 'em'.
> Very often though it is really nice, people who are genuinally interested and
> smile happily when I recite Beowulf or other poetry for them.
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Date: Wed, 08 Jan 2003 22:19:37 -0700
Status: RO

Gothic Fitted Dresses, aka GFG's (or Gothic Fitted Gowns).
--sue

Audrey Bergeron-Morin wrote:
> 
> GFD's???
> 
> > office that is slightly more casual, so I can wear
> > some of my garb as well, like GFD's with no tippets or
> > obtrusive decoration, or a walking suit.
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From: "Lyn Greaves- home" <rosamund@frontiernet.net>
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Subject: [h-cost] pleating solution, I think- final pleats in
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Date: Thu, 9 Jan 2003 02:45:26 -0500
Status: RO

OK, all-- let me know what you think.

http://www.thornyrose.com/work_in_progress.txt

The pleats for the German are done.  Due to the funky knots (Stafford knots
for those that are interested.. ), I had to make the skirts in a rectangle.
However, I believe that I have gotten them to fall right.

Take a box pleat of 10" of fabric, double fold each side.  I won't even try
to explain it here- but may be able to post a hand sketch on the web site if
people really want to know.


Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander



----- Original Message -----
From: "annora" <lisleong@k12.hi.us>
To: <h-costume@indra.com>
Sent: Wednesday, January 08, 2003 4:19 PM
Subject: Re: [h-cost] pleating question


> > On first reading, I thought, that makes so much sense!  Because
> > obviously a circular skirt hangs in pleats.  But how do you cut it big
> > enough around the waist to get loads of pleats in?
>
> I seamed together 7 trapezoidal gores which ended up looking like
> a huge doughnut.  It involved a bit of math but the hole circumference was
> the length of fabric needed for each pleat x number of pleats (which I got
> by dividing my waist measurement by the width of each pleat top).
>
> Although I don't have a copy, Julie Adams (no longer on this
> list?) did a write up on how to make organ pipe pleats.  There's a picture
> and a pattern for a man's waffenrock with these pleats in Blanche Payne's
> History of Costume, first ed.
>
> IIRC, you sew a tiny tuck partway down the edge of each pleat and
> from the inside, tack them to a lining.  That holds the pleat's shape
> until at least hip level and the rest of the skirt falls nicely continuing
> the line.
>
> --annora
>
> _______________________________________________
> 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] Daggy
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Date: Thu, 09 Jan 2003 09:09:03 +0000
Status: RO

Bella wrote: 
>Since neither Lisa nor Baralier have done so, I'll be
>brave (or stupid) and tell you about what a dag is in
>relation to sheep. From the Australian Concise Oxford
>Dictionary:

>"dag: a lock of wool clotted with dung on the hinder
>parts of a sheep. (dagged, dagging) remove dags from a
>sheep."

I think I must have subconsciously remembered that from somewhere, because I assumed that "daggy"  meant ragged or scruffy.







Kate Bunting
Library, University of Derby


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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: Re: [h-cost] Costumes at historic sites, was Authenticity
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Date: Thu, 09 Jan 2003 02:34:34 -0800
Status: RO




  But I'm glad both types of interpreters were there.  Also,
>at Mount Vernon, the tour guides are all in khaki skirts or pants and polo
>shirts, but there are a couple of people doing GOOD first-person
>impressions at the site, too; that a) saves the site the trouble and
>expense of finding costumes for all their volunteers, b) allows the tour
>guides to talk about the changes to the site over time, and the overall
>history of the site, and c) allows the people doing a first-person
>impression to do it really well, because they don't have to deal with the
>kinds of questions that are covered by the non-costumed tour guides.


I think for an open to the public type of environment that this sounds like 
the perfect solution.  Even with a few limited "Costumed Slots", rotating 
turns or something would do the fair thing, while the most talented 
employees would might the Faire way to deal with it.

>apparently the costumes are something the docents really want to do.

Well OF Course!!  I'd much rather dress up, anytime, just ask my kids...the 
lady at the little store...the postmaster...my favorite teller.

When I am old I may not ALWAYS wear purple, but I WILL always dress up.



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] Daggy
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Date: Thu, 9 Jan 2003 23:53:31 +1300
Status: RO

> oh no!  You're not talking about the lonely kiwi jokes are u?

And as a Kiwi I have to say it's lonely *Aussie* jokes;)

Or if you are a Pom, lonely rural jokes.. blah blah.. much like the Blonde
jokes are male/irish jokes usually... it's always "them" that are stupid
right;)

michaela

dags have already been explained... now what meaning came first...hmmm;)



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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] pleating solution, I think- final pleats in
To: h-costume@indra.com
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Date: Thu, 9 Jan 2003 11:09:03 +0000 (GMT)
Status: RO

Lyn, you uploaded the page as text. you have to convert it into html and upload
it as htm or html.

Cheers.

Nicole
 
--- Lyn Greaves- home <rosamund@frontiernet.net> wrote: > OK, all-- let me know
what you think.
> 
> http://www.thornyrose.com/work_in_progress.txt
> 
> The pleats for the German are done.  Due to the funky knots (Stafford knots
> for those that are interested.. ), I had to make the skirts in a rectangle.
> However, I believe that I have gotten them to fall right.
> 
> Take a box pleat of 10" of fabric, double fold each side.  I won't even try
> to explain it here- but may be able to post a hand sketch on the web site if
> people really want to know.
> 
> 
> Lyn Greaves
> Lady Rosamund d'Alwareton
> COM, COTerpsichore, COSalamander
> 
> 
> 
> ----- Original Message -----
> From: "annora" <lisleong@k12.hi.us>
> To: <h-costume@indra.com>
> Sent: Wednesday, January 08, 2003 4:19 PM
> Subject: Re: [h-cost] pleating question
> 
> 
> > > On first reading, I thought, that makes so much sense!  Because
> > > obviously a circular skirt hangs in pleats.  But how do you cut it big
> > > enough around the waist to get loads of pleats in?
> >
> > I seamed together 7 trapezoidal gores which ended up looking like
> > a huge doughnut.  It involved a bit of math but the hole circumference was
> > the length of fabric needed for each pleat x number of pleats (which I got
> > by dividing my waist measurement by the width of each pleat top).
> >
> > Although I don't have a copy, Julie Adams (no longer on this
> > list?) did a write up on how to make organ pipe pleats.  There's a picture
> > and a pattern for a man's waffenrock with these pleats in Blanche Payne's
> > History of Costume, first ed.
> >
> > IIRC, you sew a tiny tuck partway down the edge of each pleat and
> > from the inside, tack them to a lining.  That holds the pleat's shape
> > until at least hip level and the rest of the skirt falls nicely continuing
> > the line.
> >
> > --annora
> >
> > _______________________________________________
> > 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 

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Fri, 10 Jan 2003 00:27:56 +1300
Status: RO

> >http://recital.tripod.com/costume/1520.htm
> >And you'll see how the skirt naturally wants to fold into deep pleats.
There
> >are a number of skirts that are clearly circular cut both pleated and
non. I
> >think I sent some to the list  a year of so ago, but I can probably find
> >them again:)
> On first reading, I thought, that makes so much sense!  Because
> obviously a circular skirt hangs in pleats.  But how do you cut it big
> enough around the waist to get loads of pleats in?


Ahah! A bit of maths;) As you are cutting a big circle, or rather a circle
within a circle you can plot on paper how to do it:)

if you are going to do say a single box or knife pleat you'll need three
times your waist measurement as each pleat takes up three times the fabric.
As this will be a circle you'll need to divide it by 2pi to get the radius.
Add to the radius the length from waist to floor (or hem) and that is the
radius of the whole circle.

Of course you will need to segment the circle, as I doubt you'll find a
fabric wide enough;) This is where making a scaled diagram works. I'd make a
strip of fabric 1:10 of the fabric I'll be using and cut out the full circle
1:10 the size of the real thing and cut it up and lay it on the strip til I
get the best fit:) Then you can work out how much fabric you need and how to
lay the pattern on the fabric.

I use 1:10 scale because of metrics, if you use inches you might find 1:8
better:)

Also of course you'll have to keep an eye on seam allowances:)

Oh and I found my links:):
Sunray pleated as Nicole suggested:)
http://www.khm.at/system2E.html?/staticE/page1739.html
http://www.asn-ibk.ac.at/bildung/faecher/geschichte/maike/bilderkatalog/habs
burger/abb10s.htm

michaela


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Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Thu, 09 Jan 2003 04:50:51 -0800
Status: RO


>While there were some who were more into the slashing, many weren't.
>There are many portraits from that period which are basically
>indistinguishable whether they are German or English. Also, there are
>Englishmen wearing lots of slashing as well.

I haven't seen any indistinguishable ones.  Got any examples?

> > There are two self-portraits of Albrecht Durer that show this Italian
> > influence.  Male garments got more similar as the century proceeded,
> > if you don't count the pluderhosen that only Northern European
> > Protestant men wore.  Also, Anna von Cleven is not the best example,
> > because while she was German, she wore dresses much more like what the
> > English wore than German women from other areas of Germany, who
> > dressed more like Italian women, did.
>
>In the portrait of Anne of Cleves by Holbein she is wearing a dress
>which is typical of her homeland.

Yes.

>It, at least to my eyes, doesn't
>look anything like what was being worn in England or France at the
>time, especially in the cut of the bodice and the sleeves.

I didn't mean they were identical, I meant there were similarities.  These 
similarities include the high waist with non-pleated skirt, the bell-shaped 
sleeves, and the shape of her sheer cap which has those two flanges out the 
sides.  There are parallels between these and things English women were 
wearing at the time.  German dresses which are less like the English ones 
have pleated skirts, waists at the waist, and tight sleeves full of 
slashing, usually seen in paintings by Cranach.


Kayta

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Date: Fri, 10 Jan 2003 00:11:19 +1100
Status: RO

From: "michaela" <thebruce@ihug.co.nz>
> > oh no!  You're not talking about the lonely kiwi jokes are u?
>
> And as a Kiwi I have to say it's lonely *Aussie* jokes;)

Of course I'd *never* ever make jokes about anyone living off the coast of
Australia :-)

Okay maybe I would :-) But only in jest. Kiwi-baiting is an Australian
National Past-time (tm). And I know the reverse applies.

> Or if you are a Pom, lonely rural jokes.. blah blah.. much like the Blonde
> jokes are male/irish jokes usually... it's always "them" that are stupid
> right;)

It's always easier that way. I mean after all, you don't need to make jokes
about Americans they do it quite alright for themselves :-)

Baralier
--
It's easier to ask forgiveness than to get permission. - W. Slovotsky
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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Date: Thu, 9 Jan 2003 14:13:48 +0000
Status: RO

Mel,
Thanks for the advice - I've just got back online after 24hrs.I'd prefer 
to avoid the stuff like Tansy as I've a mischievous cat and couldn't 
cope with anything happening to her.
And yes I'm in the UK so I'll follow-up on your leads a bit later to 
day.Many many sincere thanks.

Marcus.


On Tuesday, January 7, 2003, at 12:48  pm, Melanie Wilson wrote:

> Tansey also for the rodent, but handle with care, it is not as safe for
> humans as the others
>
>
>
> Mel
>
> This e-mail, and any attachment, is confidential. If you have received
> it in error, please delete it from your system, do not use or disclose
> the information in any way, and notify me immediately. The contents of
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> Company, unless specifically stated
>
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Date: Thu, 09 Jan 2003 06:53:28 -0700
Status: RO

Ahhh...*that's* what happened! I couldn't figure it out....
--sue

N Kipar wrote:
> 
> Lyn, you uploaded the page as text. you have to convert it into html and upload
> it as htm or html.
> 
> Cheers.
> 
> Nicole
> 
> --- Lyn Greaves- home <rosamund@frontiernet.net> wrote: > OK, all-- let me know
> what you think.
> >
> > http://www.thornyrose.com/work_in_progress.txt
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Date: Thu, 09 Jan 2003 06:54:57 -0700
Status: RO

Check in the OED, maybe?
--sue, who actually knew the sheep reference, but somehow didn't apply
it to modern clothing <g>

michaela wrote:
> 
 
> dags have already been explained... now what meaning came first...hmmm;)
>
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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] pleating solution, I think- final pleats in
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Date: Thu, 9 Jan 2003 09:00:36 -0500
Status: RO

Came up fine here when I clicked the link...

The dress is gorgeous...

Apollonia

Signora Apollonia Margherita degli Albizzi
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
immane mittam.**

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Thursday, January 09, 2003 8:53 AM
To: h-costume@indra.com
Subject: Re: [h-cost] pleating solution, I think- final pleats in


Ahhh...*that's* what happened! I couldn't figure it out....
--sue

N Kipar wrote:
>
> Lyn, you uploaded the page as text. you have to convert it into html and
upload
> it as htm or html.
>
> Cheers.
>
> Nicole
>
> --- Lyn Greaves- home <rosamund@frontiernet.net> wrote: > OK, all-- let me
know
> what you think.
> >
> > http://www.thornyrose.com/work_in_progress.txt
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From h-costume-admin@indra.com  Thu Jan  9 09:09:13 2003
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From: =?iso-8859-1?q?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: RE: [h-cost] pleating solution, I think- final pleats in
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Date: Thu, 9 Jan 2003 14:08:47 +0000 (GMT)
Status: RO

It's an HTML page that's got a name ending in TXT.
Works for me in MSIE, probably wouldn't work in
Netscape. You just need to rename it to an extension
like HTM or HTML and it should be fine for everyone.

 --- Signora Apollonia Margherita degli Albizzi
<apollonia@bellsouth.net> wrote: 

> Came up fine here when I clicked the link...

> > Lyn, you uploaded the page as text. you have to
> convert it into html and
> upload
> > it as htm or html.

> > > http://www.thornyrose.com/work_in_progress.txt


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From h-costume-admin@indra.com  Thu Jan  9 09:24:52 2003
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From: Katy Bishop <vintage@shore.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Thu, 9 Jan 2003 09:24:53 -0500 (EST)
Status: RO


Past Patterns has a new empire style dress pattern available:

#031: Circa 1796-1806 Lewis & Clark Era: Empire Gown
http://www.pastpatterns.com/031.html

Looks pretty cute.  I know she is working on a pattern for an early pair
of stays too, from the same period but that pattern is not ready yet.

Katy

On Wed, 8 Jan 2003, Nancy Kiel wrote:

>Nancy Bradfield has a couple of 1790-1800 dresses; you might also want to
>try C.W. Cunnington's English Women's Clothing in the 19th century.  Another
>possibility is the "Creole" dress popularized in Europe by Marie Antoinette
>(that created a furore when she had her portrait painted).
>
>
>
>Nancy Kiel
>nancy_kiel@hotmail.com
>A foolish consistency is the hobgoblin of little minds.   Emerson
>
>>On Tue, 7 Jan 2003, Allison wrote:
>> > I'm doing a living history bit later this year for a Louisiana Purchase
>> > commemoration.  I've looked for patterns and photos - anything from
>>around
>> > 1800.  (The year is actually 1803
>
>_________________________________________________________________
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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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From h-costume-admin@indra.com  Thu Jan  9 09:28:45 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] pleating solution, I think- final pleats in
To: h-costume@indra.com
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Date: Thu, 9 Jan 2003 14:28:34 +0000 (GMT)
Status: RO

Yep, that's what I meant but I overcomplicated it *L*

Actually, if you use netscape, as a viewer and not the evil fiend MSIE, just
hit 'edit page' save it as html to your hardrive and then open that file, works
fine.

Nicole

 --- Jane Williams <janewilliams20@yahoo.co.uk> wrote: > It's an HTML page
that's got a name ending in TXT.
> Works for me in MSIE, probably wouldn't work in
> Netscape. You just need to rename it to an extension
> like HTM or HTML and it should be fine for everyone.
> 
>  --- Signora Apollonia Margherita degli Albizzi
> <apollonia@bellsouth.net> wrote: 
> 
> > Came up fine here when I clicked the link...
> 
> > > Lyn, you uploaded the page as text. you have to
> > convert it into html and
> > upload
> > > it as htm or html.
> 
> > > > http://www.thornyrose.com/work_in_progress.txt
> 
> 
> __________________________________________________
> 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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=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From h-costume-admin@indra.com  Thu Jan  9 09:38:54 2003
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <se1d3c50.035@CSV6.derby.ac.uk>
Subject: Re: [h-cost] Daggy
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Date: Thu, 9 Jan 2003 06:45:50 -0800
Status: RO

Thanks for the reference.  I had not heard that before but it makes a great
deal of sense.  No, one does not want to look daggy although the word is
often used with affection.

Lisa




----- Original Message -----
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 1:09 AM
Subject: Re: [h-cost] Daggy


> Bella wrote:
> >Since neither Lisa nor Baralier have done so, I'll be
> >brave (or stupid) and tell you about what a dag is in
> >relation to sheep. From the Australian Concise Oxford
> >Dictionary:
>
> >"dag: a lock of wool clotted with dung on the hinder
> >parts of a sheep. (dagged, dagging) remove dags from a
> >sheep."
>
> I think I must have subconsciously remembered that from somewhere, because
I assumed that "daggy"  meant ragged or scruffy.
>
>
>
>
>
>
>
> Kate Bunting
> Library, University of Derby
>
>
> _______________________________________________
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Date: Thu, 9 Jan 2003 14:44:26 -0000
Status: RO

Hi all,
Fresh from my triumphs at the Liberty's fabric sale I am embarking on
a houpelande; not least because it is absolutely freezing. The vast
expanses of glass here in the Barbican are nice to look out of but are
not conducive to keeping the central heating where it belongs, ie
here.
The problem with fulling is that I am not sure what it will do to my
greatly reduced but still expensive satin backed wools. These are
densely woven women's suitings and so I am not sure whether they have
been fulled to anything like the extent that expensive men's suitings
are. They will not be washed in the future once made up; fur doesn't
like that sort of thing. So, advice please?
best wishes
Stevie

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Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Thu, 09 Jan 2003 07:42:36 -0700
Status: RO

Hey, you're right.  That *is* cute! It'd be a lot of fun to work up for
all the ongoing Lewis-and-Clark stuff that's going on right now. (I'm in
a part of Montana they actually traveled through and camped near, so
it's a big deal, locally.)
I like her discussion about the colored threads being at right angles to
the selvedge--I've seen modern upholstery/decorating fabrics with the
patterns oriented this way.
Since the fabrics done with linen warp, and cotton weft, this would mean
that the colored threads are part of the weft, yes? Perhaps cotton's
easier to dye than linen?
I've heard of mixed cotton/linen fabrics, before, done with one fiber as
the warp, and the other, the weft...but why? Were there strength issues
with the threads or something?
Were striped fabrics at that time striped going with the warp, or the
weft? or both?
--sue, waaaay too curious for her own good!

Katy Bishop wrote:
> 
> Past Patterns has a new empire style dress pattern available:
> 
> #031: Circa 1796-1806 Lewis & Clark Era: Empire Gown
> http://www.pastpatterns.com/031.html
> 
> Looks pretty cute.  I know she is working on a pattern for an early pair
> of stays too, from the same period but that pattern is not ready yet.
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Date: Thu, 09 Jan 2003 07:44:00 -0700
Status: RO

Oh! Okay....Learn something new everyday on this list! <g>
I'll forward it to myself at work, where we've got IE (I use Netscape at
home).
Thanks.
--Sue

Jane Williams wrote:
> 
> It's an HTML page that's got a name ending in TXT.
> Works for me in MSIE, probably wouldn't work in
> Netscape. You just need to rename it to an extension
> like HTM or HTML and it should be fine for everyone.
> 
>  --- Signora Apollonia Margherita degli Albizzi
> <apollonia@bellsouth.net> wrote:
> 
> > Came up fine here when I clicked the link...
> 
> > > Lyn, you uploaded the page as text. you have to
> > convert it into html and
> > upload
> > > it as htm or html.
> 
> > > > http://www.thornyrose.com/work_in_progress.txt
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From: "Freyalyn Close-Hainsworth" <lynn@close-hainsworth.fslife.co.uk>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Fulling wool
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Date: Thu, 9 Jan 2003 16:14:45 -0000
Status: RO

> The problem with fulling is that I am not sure what it will do to my
> greatly reduced but still expensive satin backed wools. These are
> densely woven women's suitings and so I am not sure whether they have
> been fulled to anything like the extent that expensive men's suitings
> are. They will not be washed in the future once made up; fur doesn't
> like that sort of thing. So, advice please?
> best wishes
> Stevie

Cut a small piece in a regular shape, measure it exactly, then wash
vigourously (neaten edges if likely to fray).  Then measure.  It's worth
sacrificing a small piece (at least 8" square if not bigger to see what will
happen.  Good luck!

Freyalyn


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From: "Emily Hartman" <hartma44@msu.edu>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Any advice on c.1800 patterns/underpinnings?
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Date: Thu, 9 Jan 2003 11:30:37 -0500
Status: RO

Sue,

>From what I've read and heard from Sally Queen in her lectures on
textiles for colonial clothing (and her great swatchbook of the same
name), linen was usually the warp because of its strength.  I've never
heard/read anything about cotton being easier to dye than linen as
they're both cellulose fibers and so both more difficult to dye than
protein-based fibers like silk and wool.  (But then dying isn't my
specialty...or is it dye-ing?)  Fustian contained a wide range of
textiles including, sometimes, corduroy (as a random sidenote)

Emily


> Since the fabrics done with linen warp, and cotton weft, this would
mean
> that the colored threads are part of the weft, yes? Perhaps cotton's
> easier to dye than linen?
> I've heard of mixed cotton/linen fabrics, before, done with one fiber
as
> the warp, and the other, the weft...but why? Were there strength
issues
> with the threads or something?
> Were striped fabrics at that time striped going with the warp, or the
> weft? or both?
> --sue, waaaay too curious for her own good!
> 

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Date: Thu, 09 Jan 2003 08:33:50 -0800
Status: RO


> >While there were some who were more into the slashing, many weren't.
> >There are many portraits from that period which are basically
> >indistinguishable whether they are German or English. Also, there are
> >Englishmen wearing lots of slashing as well.
> 
> I haven't seen any indistinguishable ones.  Got any examples?

Pull any Holbein book and you can usually find several. For example, 
look at the Englishman Thomas More and compare him to the Germans 
Nichlaus Kratzer and Georg Gisze or even the Portrait of the Elector 
John the Steadfast and Margrave Albrecht of Brandenburg, Duke of 
Prussia (from Cranach.)

Yes, there are slashed clothing (such as John Frederic the 
Magnanimous when he was Heir Apparent and many others) but you also 
see slashed clothing in the English menswear such as on Henry VIII. I 
suspect if we had more portraits of young men in England such as we 
have of the Italians and Germans, we'd see even more of it. ;)

> Yes.
> 
> >It, at least to my eyes, doesn't
> >look anything like what was being worn in England or France at the
> >time, especially in the cut of the bodice and the sleeves.
> 
> I didn't mean they were identical, I meant there were similarities. 
> These similarities include the high waist with non-pleated skirt, the
> bell-shaped sleeves, and the shape of her sheer cap which has those
> two flanges out the sides. 

How odd. Most of the English ones from the early sixteen century that 
I've seen have had normal waist (almost always with a point), squared 
neckline, turned back sleeves without anything at the upper arm (even 
if it had started out as a "bell shape") showing the foresleeve and, 
with the exception of Holbein's drawing of the woman trying to keep 
her hem out of the mud, are wearing some form of either the French 
Hood or the English Hood which bears no true relationship to the 
flanged sheer cap. That cap design (from the sheer undercap to the 
part over it) is from her Homeland. It has more roots there than in 
either Italy or England.

 There are parallels between these and
> things English women were wearing at the time.  German dresses which
> are less like the English ones have pleated skirts, waists at the
> waist, and tight sleeves full of slashing, usually seen in paintings
> by Cranach.

Even in Cranach not all the skirts are pleated (and you can find non-
pleated dresses and pleated ones in the same paintings.) And the 
bodice designs in Cranach are much more like the bodice design of 
Anne of Cleves.

The point where this started, however, is that there is far more 
similarity in this period between the mens clothes from various areas 
than between the women's clothes. The men may be nearly 
indistinguishable (except for some of the younger more "avant garde" 
men) but the women's tend to be more regionalized (with perhaps an 
influence from elsewhere perhaps.)

Anne herself noted the major differences between what was worn in 
England and what was worn in her Homeland. She deliberately changed 
over to wearing "English clothes" when she came to England (as 
opposed to other queens who continued to wear clothes reminiscent of 
their former home which ended up changing the styles of their adopted 
homes.)

Kat Russell
<kat@grendal.rain.com>

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To: h-costume@indra.com
Subject: Re: [h-cost] Fulling wool
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Date: Thu, 9 Jan 2003 12:08:37 -0600 (CST)
Status: RO


On Thu, 9 Jan 2003, Stevie Gamble wrote:

> The problem with fulling is that I am not sure what it will do to my
> greatly reduced but still expensive satin backed wools. These are
> densely woven women's suitings and so I am not sure whether they have
> been fulled to anything like the extent that expensive men's suitings
> are. They will not be washed in the future once made up; fur doesn't
> like that sort of thing. So, advice please?

I'd recommend a test as someone else already wrote ... but if it's densely
woven and not going to be washed later, you can probably manage fine
without fulling. 

Do you know what the satin backing is made of? I've seen wool backed with
poly or acetate for a satin finish. Is that what you mean? Is the backing
bonded on or woven in as a second layer?

I don't know if satin-backed wool could have been made in the early 15th
century, but even if it was it may not have been fulled -- not all
medieval wools were fulled. And if it wasn't, you're just going for
appearance anyway, and a dense weave should do fine.

--Robin


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From: "Lyn Greaves- home" <rosamund@frontiernet.net>
To: <h-costume@indra.com>
References: <20030109110903.7560.qmail@web13306.mail.yahoo.com>
Subject: Re: [h-cost] pleating solution, I think- final pleats in
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Date: Thu, 9 Jan 2003 13:36:27 -0500
Status: RO

I got access no problem, but here's another link.

http://www.thornyrose.com/work_in_progress.html

Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander



----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 6:09 AM
Subject: Re: [h-cost] pleating solution, I think- final pleats in


> Lyn, you uploaded the page as text. you have to convert it into html and
upload
> it as htm or html.
>
> Cheers.
>
> Nicole
>
> --- Lyn Greaves- home <rosamund@frontiernet.net> wrote: > OK, all-- let me
know
> what you think.
> >
> > http://www.thornyrose.com/work_in_progress.txt
> >
> > The pleats for the German are done.  Due to the funky knots (Stafford
knots
> > for those that are interested.. ), I had to make the skirts in a
rectangle.
> > However, I believe that I have gotten them to fall right.
> >
> > Take a box pleat of 10" of fabric, double fold each side.  I won't even
try
> > to explain it here- but may be able to post a hand sketch on the web
site if
> > people really want to know.
> >
> >
> > Lyn Greaves
> > Lady Rosamund d'Alwareton
> > COM, COTerpsichore, COSalamander
> >
> >
> >
> > ----- Original Message -----
> > From: "annora" <lisleong@k12.hi.us>
> > To: <h-costume@indra.com>
> > Sent: Wednesday, January 08, 2003 4:19 PM
> > Subject: Re: [h-cost] pleating question
> >
> >
> > > > On first reading, I thought, that makes so much sense!  Because
> > > > obviously a circular skirt hangs in pleats.  But how do you cut it
big
> > > > enough around the waist to get loads of pleats in?
> > >
> > > I seamed together 7 trapezoidal gores which ended up looking like
> > > a huge doughnut.  It involved a bit of math but the hole circumference
was
> > > the length of fabric needed for each pleat x number of pleats (which I
got
> > > by dividing my waist measurement by the width of each pleat top).
> > >
> > > Although I don't have a copy, Julie Adams (no longer on this
> > > list?) did a write up on how to make organ pipe pleats.  There's a
picture
> > > and a pattern for a man's waffenrock with these pleats in Blanche
Payne's
> > > History of Costume, first ed.
> > >
> > > IIRC, you sew a tiny tuck partway down the edge of each pleat and
> > > from the inside, tack them to a lining.  That holds the pleat's shape
> > > until at least hip level and the rest of the skirt falls nicely
continuing
> > > the line.
> > >
> > > --annora
> > >
> > > _______________________________________________
> > > 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
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
> Do You Yahoo!?
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Fulling wool
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Date: Thu, 9 Jan 2003 19:09:06 -0000
Status: RO

Robin wrote

>
> On Thu, 9 Jan 2003, Stevie Gamble wrote:
>
> > The problem with fulling is that I am not sure what it will do to
my
> > greatly reduced but still expensive satin backed wools. > I'd
recommend a test as someone else already wrote ... but if it's densely
> woven and not going to be washed later, you can probably manage fine
> without fulling.
>
> Do you know what the satin backing is made of?


My apologies; I meant that one face of the wool is dull and the other
side is shiny. A little like crepe back satin in silk, though the wool
is much smoother on its non-satin side than crepe is. It is just one
layer of wool, however. I'd call it wool satin, but that also gets
confusing... I have some anonymous English wool, and some Pierre
Cardin and Enrico Coveri, both woven in Italy, in shades which seem
acceptable for the period; teal, greens and plum. I've done some
experimenting with the cloths and some types of fur, and I aim to test
the finished article against the portraits, some of which we have
discussed recently. If you have any recommendations as to construction
I should be most interested.
And, having decided to try some test pieces, I discovered that our
water supply has been  cut off due to burst pipes. The City of London
isn't really geared up to deal with snow storms, much less frozen
ground, and horror, frozen water supplies. .

best wishes
Stevie

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To: h-costume@indra.com
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: Re: [h-cost] Medici exhibit in Chicago
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Date: Thu, 09 Jan 2003 13:45:33 -0600
Status: RO

At 12:21 PM 1/5/03 -0500, you wrote:
>On Sat, 4 Jan 2003 22:03:13 -0600, Rebecca Schmitt 
><lotsofteapots@charter.net> wrote:
>
>>The web address for the Art Institute is www.artic.edu
>>There was a large exhibit catalogue (which was $60) for the Medici exhibit.
>>This was, of course, rather extensive, with lots of stuff that was only
>>shown in Florence or Detroit. Definitely drool-worthy.
>
>Do you by any chance recall any of the bibliographic information on that 
>catalogue? The online store has no related book or catalogue in that price 
>range, and I'd be interested in seeing if my local discounter (which has a 
>vast collection of art books) might have a copy for sale...

Try this URL:
http://www.artinstituteshop.org/item.asp?catID=2&subcatID=9&productID=987

Sheryl Nance-Durst

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Subject: Re: [h-cost] Medici exhibit in Chicago
From: Grace Morris <gmorris@providenceday.org>
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Date: Thu, 09 Jan 2003 15:00:05 -0500
Status: RO

Since I won't make it to Chicago by Feb. 2, where does it go next?  Probably
Italy....

Jessamyn

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Subject: Re: and here we go again, was Re: [h-cost] Authenticity Good & Bad
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Date: Thu, 09 Jan 2003 14:23:35 -0600
Status: RO

N Kipar wrote:
> 
> > But it's not period to tell someone they're not period.
> 
> Agreed.
> 
> But...
> 
> We have had this same discussion for goodness knows how many times. Is it just
> me and am I the only one who wants to scream "for crying out loud, can't we
> just all let everyone do what they want to do?" I am tired of hearing how
> 'mean' people are who want to be very authentic to those who don't; I am tired
> of hearing how 'mean' people are who don't want to be very authentic to those
> who are. I know it happens out there, but I for one would like to live with the
> notion of Live and Let Live!

Quite honestly, I've been deleting the "authenticity" threads unread. 
This one caught my eye.  As far as the lists goes, I think one of the
issues is that everyone has a differing level of "correctness" they want
to achieve.  Therefore, when someone asks a question the replies vary
based on the responder's costuming level.  When asking a question I
think it's helpful to note what kind of detail you want (ie, "I need a
quickie costume for a fancy dress party" or "I want to do this as
correctly as possible").

--Charlene

-- 
It is more shameful to distrust one's friends than to be deceived by
them.  --François de la Rochefoucauld
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From: "Emily H." <hartma44@msu.edu>
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Subject: Re: [h-cost] Medici exhibit in Chicago
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Date: Thu, 9 Jan 2003 15:41:05 -0600
Status: RO

Jessamyn,

It's actually going to the Detroit Institute of Arts next.  It'll be in
Detroit from March 16 to June 8th 2003.  And perhaps surprisingly, Detroit
has a very nice art museum...it's definitely worth the trip!


Emily

> Since I won't make it to Chicago by Feb. 2, where does it go next?
Probably
> Italy....
>


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Date: Thu, 9 Jan 2003 16:00:34 -0500
Status: RO

OK, since I won't be able to hit EITHER of these-- any idea if I've missed
it being in New York?  Or where I can look it up?


Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander



----- Original Message -----
From: "Emily H." <hartma44@msu.edu>
To: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 4:41 PM
Subject: Re: [h-cost] Medici exhibit in Chicago


> Jessamyn,
>
> It's actually going to the Detroit Institute of Arts next.  It'll be in
> Detroit from March 16 to June 8th 2003.  And perhaps surprisingly, Detroit
> has a very nice art museum...it's definitely worth the trip!
>
>
> Emily
>
> > Since I won't make it to Chicago by Feb. 2, where does it go next?
> Probably
> > Italy....
> >
>
>
> _______________________________________________
> 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] Medici exhibit in Chicago
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Date: Thu, 09 Jan 2003 16:07:09 -0500
Status: RO

Thanks!  Maybe I can make it by then!!

Jessamyn

On 1/9/03 4:41 PM, "Emily H." <hartma44@msu.edu> wrote:

> Jessamyn,
> 
> It's actually going to the Detroit Institute of Arts next.  It'll be in
> Detroit from March 16 to June 8th 2003.  And perhaps surprisingly, Detroit
> has a very nice art museum...it's definitely worth the trip!
> 
> 
> Emily
> 
>> Since I won't make it to Chicago by Feb. 2, where does it go next?
> Probably
>> Italy....
>> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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Subject: [h-cost] Help with French translation on fabric
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Date: Thu, 9 Jan 2003 14:36:59 -0700
Status: RO

Through a friend of a friend I have some extra fabric that was
supposedly used at the Biltmore for decoration.  It is done in
"renaissance" green, blue red etc and depicts a man and woman on either
side of a ship.  It has a saying across the top (like might have been
used for heraldry) that says:

 "Si na bles n'a dessouby (the last two letters of that word are a guess
since the lettering is weird-but I think it is the word:dessous) les
cieuix je ne."


The best I can do is:

 "So I do not wound under the skys" 

 Don't laugh too hard!!  Any help is appreciated.

Sg



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Date: Thu, 9 Jan 2003 16:37:27 -0500
Status: RO

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.

----__JNP_000_3b28.6730.5da0
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  Because no-one else has asked, what are syphilis glasses???  I assume
they had a particular function, what was it??

   Elizabeth   

On Wed, 08 Jan 2003 16:38:04 -0800 Gwyn Carnegie <gacarnegie@ucdavis.edu>
writes:

I wanted to find the perfectly round frames. Apparently they are all
listed under "Ozzy" or "Lennon" and not syphilis or victorian medical and
looking under gothic mostly got me goggle sites. Thanks for the tip
though >; )
----__JNP_000_3b28.6730.5da0
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3Dcontent-type content=3Dtext/html;charset=3Dus-ascii>
<META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR></HEAD>
<BODY>
<DIV>&nbsp; Because no-one else has asked, what are syphilis=20
glasses???&nbsp;&nbsp;I assume they had a particular function, what was=20
it??</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;&nbsp; Elizabeth&nbsp;&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>On Wed, 08 Jan 2003 16:38:04 -0800 Gwyn Carnegie &lt;<A=20
href=3D"mailto:gacarnegie@ucdavis.edu">gacarnegie@ucdavis.edu</A>&gt;=20
writes:</DIV>
<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-LEFT: 10px; MARGIN-LEFT: 10px; BORDER-LEFT: #000000 2px =
solid">
  <DIV><BR>I wanted to find the perfectly round frames. Apparently they are=
 all=20
  listed under "Ozzy" or "Lennon" and not syphilis or victorian medical and=
=20
  looking under gothic mostly got me goggle sites. Thanks for the tip =
though=20
  &gt;; )<BR><BR></DIV></BLOCKQUOTE></BODY></HTML>

----__JNP_000_3b28.6730.5da0--


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Date: Thu, 9 Jan 2003 16:41:02 -0500
Status: RO

Though I haven't been there in many, many moons, the Detroit Institute of
Arts is indeed a very fine museum.  And although it is MUCH smaller, the
University of Michigan in Ann Arbor also has a nice little museum. Not
comprehensive by any means, but a pleasant place to spend an afternoon. My
dad and I went when they were having a very nice Asian exhibit.

Dianne
----- Original Message -----
From: "Emily H." <hartma44@msu.edu>
To: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 4:41 PM
Subject: Re: [h-cost] Medici exhibit in Chicago


> Jessamyn,
>
> It's actually going to the Detroit Institute of Arts next.  It'll be in
> Detroit from March 16 to June 8th 2003.  And perhaps surprisingly, Detroit
> has a very nice art museum...it's definitely worth the trip!
>
>
> Emily
>
> > Since I won't make it to Chicago by Feb. 2, where does it go next?
> Probably
> > Italy....
> >
>
>
> _______________________________________________
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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  Thu Jan  9 16:54:47 2003
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Subject: Re: [h-cost] Help with French translation on fabric
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Date: Thu, 9 Jan 2003 15:52:56 -0600
Status: RO

Are you sure that is French?

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message ----- 
From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 3:36 PM
Subject: [h-cost] Help with French translation on fabric


> Through a friend of a friend I have some extra fabric that was
> supposedly used at the Biltmore for decoration.  It is done in
> "renaissance" green, blue red etc and depicts a man and woman on either
> side of a ship.  It has a saying across the top (like might have been
> used for heraldry) that says:
> 
>  "Si na bles n'a dessouby (the last two letters of that word are a guess
> since the lettering is weird-but I think it is the word:dessous) les
> cieuix je ne."
> 
> 
> The best I can do is:
> 
>  "So I do not wound under the skys" 
> 
>  Don't laugh too hard!!  Any help is appreciated.
> 
> Sg
> 
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 
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From h-costume-admin@indra.com  Thu Jan  9 17:24:42 2003
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Subject: [h-cost] Re: GFD
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Date: Thu, 09 Jan 2003 17:23:46 -0500
Status: RO

Dear Robin,

> Audrey wrote:  > > > GFD's???

> Nicole replied:> > It's the new fad that was started here: the gothic
fitted dress thingy.

> I am seriously thinking of making for CostumeCon (my first) a black GFD
> to wear with heavy makeup, black nail enamel, a black lace veil, and
> maybe some fishnet stockings and black leather boots. It would be a Goth
> fitted dress, of course. I probably won't be able to get my act together
> in time to sew it, but where else could I pull that one? (And what else
> would I need to complete the outfit?)

I hope you do get the outfit done in time for Costume-Con.

Please wear it on the day when the Future Fashion Show takes place (I think
it may be Sunday).  I dearly want a shot of your outfit & the Fairy
Gothmother together, if only a mental snapshot.

The perfect thing to complete any Goth outfit is ATTITUDE & plenty of it.

Ann in CT
going to Costume-Con, too, my 8th
Counselor of Colonia has a gown based on the Bocksten bog man's tunic.


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From h-costume-admin@indra.com  Thu Jan  9 17:36:59 2003
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Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
To: h-costume@indra.com
In-Reply-To: <Pine.GSO.4.43.0301080809110.8133-100000@saltmine.radix.net> from "Kevin & Mara Riley" at Jan 08, 2003 08:18:43 AM
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Date: Thu, 9 Jan 2003 14:36:48 -0800 (PST)
Status: RO

this sounds really interesting!
do you  know of any photos online of similar corset?
Is the paper you have something that can be shared?  or could you
share your source for it?

.heather.

> 
> Hi, Allison,
> I've got a copy of a paper on a set of very late 18th c. 'transitional'
> stays from the Churchill House in England.
> 
> These stays are shaped like shortened 18th c. stays, but they only
> have boning in the center front (where they lace), the center back, and
> possibly along the angled side seam (there are boning channels, but the
> boning is missing).  The stays have tabs, but they are unboned.  The
> interesting thing about these stays is that they have one triangular bust
> gusset on each side.  These stays also have shoulder straps, which they'd
> have to, in order to stay up (being high-waisted).  They are dated ca.
> 1795 to 1810, I think.
> 
> I made a set for myself last summer and wore them with a War of 1812
> period outfit (petticoat bodice and shortwaisted shortgown); they were
> very comfortable.  My friend Kate Johnson made a set for herself and said
> they were so comfortable she could sleep in them.  She's also turned up
> several other examples in costume collections, for a paper she presented
> this fall, so I think they weren't uncommon in the last decade of the 18th
> c. when fashions were transitioning from earlier styles to the
> high-waisted Regency styles.  To my knowledge, there isn't a pattern
> available for this style, though.
> 
> I drafted mine up using Drea's Elizabethan Corset Pattern Generator, but
> used my under-bust measurement instead of bust measurement for the top
> dimension, since I was adding the gussets to accomodate the bustline.
> 
> Cheers,
> Mara
> 
> On Tue, 7 Jan 2003, Allison wrote:
> > I'm doing a living history bit later this year for a Louisiana Purchase
> > commemoration.  I've looked for patterns and photos - anything from around
> > 1800.  (The year is actually 1803.)  But I've tumbled into what appears to
> > be the Bermuda Triangle of costume research.  The documentable research
> > seems to jump from late 1700's to 1810-ish, the Napoleonic/Regency period.
> > Can't find much on the in-between years.  The period I need is after the
> > post-French Revolution styles, but before the structured foundations of the
> > Regency styles.  I think I'll need some sort of underpinnings to give the
> > right silhouette, but still remain soft and flowy-Greek and feminine.  And
> > still have two bosoms, not a monobosom as in the 18th c. corsets.  I've
> > looked at Sense and Sensibility patterns; they seem to be the best
> > available, but do I really need a pattern?  I can modify a princess-seam
> > back from another pattern to make the bodice, the sleeves can also be
> > modified from an existing pattern, and the skirts are very simple.  But I
> > can't find a corset pattern.  Does one exist?  Looks like it should be a
> > long-line non-constricting garment, with a center busk, and a good
> > strong/stiff upper back, to give the erect posture, but aside from that I am
> > clueless!  (I'm pretty sure I will need a corset of some sort - I am
> > "fluffy" with a DD bust, and I don't want to scare small children.)
> >
> > Any advice?
> >
> > Allison
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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Subject: [h-cost] Costume Con, was GFD
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Date: Thu, 9 Jan 2003 16:55:30 -0600 (CST)
Status: RO


On Thu, 9 Jan 2003, Catelli wrote:

> Ann in CT
> going to Costume-Con, too, my 8th

I have just had my speaking schedule confirmed for CostumeCon (thanks,
Karen!). I will be giving five hours of lectures! If I have any breath
left over I will want to socialize. Who else will be there? 

Teddy and Mel are slated to speak, and Stephen Bergdahl, and others from
this list that I'm not remembering right now and am too pressed to go look
up, but you can ... <http://jennifarse.com/cc2003/>

--Robin


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Date: Sun, 29 Dec 2002 05:59:58 -0500
Status: RO

At 09:19 PM 12/27/2002 -0800, you wrote:
>I got a Uniquely You dress form!
>
>angela

Congrats; enjoy!

-- Mara

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Authenticity-connecting some dots
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Date: Thu, 09 Jan 2003 15:02:00 -0800
Status: RO

I guess my background of doing German comes out here.  I don't find German 
and English mens' clothes as similar as you do, probably because I am 
seeing all the differences I am trying to describe.  And I'm seeing 
similarities between the English dresses and those from the Cologne area, 
where Anna von Cleven came from, where you are focusing on the 
differences.  I seem to be unable to make my point, even with examples.  I 
give up, but I still don't agree.  Oh well.

> > >While there were some who were more into the slashing, many weren't.
> > >There are many portraits from that period which are basically
> > >indistinguishable whether they are German or English. Also, there are
> > >Englishmen wearing lots of slashing as well.
> >
> > I haven't seen any indistinguishable ones.  Got any examples?
>
>Pull any Holbein book and you can usually find several. For example,
>look at the Englishman Thomas More and compare him to the Germans
>Nichlaus Kratzer and Georg Gisze or even the Portrait of the Elector
>John the Steadfast and Margrave Albrecht of Brandenburg, Duke of
>Prussia (from Cranach.)
>
>Yes, there are slashed clothing (such as John Frederic the
>Magnanimous when he was Heir Apparent and many others) but you also
>see slashed clothing in the English menswear such as on Henry VIII. I
>suspect if we had more portraits of young men in England such as we
>have of the Italians and Germans, we'd see even more of it. ;)
>
> > Yes.
> >
> > >It, at least to my eyes, doesn't
> > >look anything like what was being worn in England or France at the
> > >time, especially in the cut of the bodice and the sleeves.
> >
> > I didn't mean they were identical, I meant there were similarities.
> > These similarities include the high waist with non-pleated skirt, the
> > bell-shaped sleeves, and the shape of her sheer cap which has those
> > two flanges out the sides.
>
>How odd. Most of the English ones from the early sixteen century that
>I've seen have had normal waist (almost always with a point), squared
>neckline, turned back sleeves without anything at the upper arm (even
>if it had started out as a "bell shape") showing the foresleeve and,
>with the exception of Holbein's drawing of the woman trying to keep
>her hem out of the mud, are wearing some form of either the French
>Hood or the English Hood which bears no true relationship to the
>flanged sheer cap. That cap design (from the sheer undercap to the
>part over it) is from her Homeland. It has more roots there than in
>either Italy or England.
>
>  There are parallels between these and
> > things English women were wearing at the time.  German dresses which
> > are less like the English ones have pleated skirts, waists at the
> > waist, and tight sleeves full of slashing, usually seen in paintings
> > by Cranach.
>
>Even in Cranach not all the skirts are pleated (and you can find non-
>pleated dresses and pleated ones in the same paintings.) And the
>bodice designs in Cranach are much more like the bodice design of
>Anne of Cleves.
>
>The point where this started, however, is that there is far more
>similarity in this period between the mens clothes from various areas
>than between the women's clothes. The men may be nearly
>indistinguishable (except for some of the younger more "avant garde"
>men) but the women's tend to be more regionalized (with perhaps an
>influence from elsewhere perhaps.)
>
>Anne herself noted the major differences between what was worn in
>England and what was worn in her Homeland. She deliberately changed
>over to wearing "English clothes" when she came to England (as
>opposed to other queens who continued to wear clothes reminiscent of
>their former home which ended up changing the styles of their adopted
>homes.)
>
>Kat Russell
><kat@grendal.rain.com>
>
>_______________________________________________
>h-costume mailing list
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>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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Subject: [h-cost] Costume Con 21
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Date: Thu, 9 Jan 2003 16:56:45 -0600
Status: RO


Hello Everyone!

We have just over 3 months until Costume Con 21 here in Chicago. While
the con is for all  types of costuming, there will be a significant
historical presence. Our own Robin Netherton will be doing several
programs focusing on 14th and 15th century clothing. Melanie Wilson will
be doing a panel on Anglo-Saxon costuming as well as an in depth look at
dyeing. Janet Anderson, of AlterYears, will be doing several panels on
designing 3-D costumes from 1D and 2D sources (written and visual) as
well as 18th century movement. Drea Leed will be enlightening us with her
16th century 'Well Dress'd Peasant' and Teddy will facilitate a round of
Chaos Costuming!

Also on tap but still to be firmed up are a series of period dance
classes taught by Susan de Guardiola.

There are still memberships available, get them while they're hot!

http://www.jennifarse.com/cc2003/



Karen

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Subject: Re: [h-cost] Daggy
From: randl <randl@adelphia.net>
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Date: Thu, 09 Jan 2003 18:14:23 -0500
Status: RO

on 1/8/03 7:28 PM, h-costume-request@indra.com at
h-costume-request@indra.com wrote:

> Message: 11
> Date: Thu, 9 Jan 2003 11:19:21 +1100 (EST)
> From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
> Subject: Re: [h-cost] Daggy
> To: h-costume@indra.com
> Reply-To: h-costume@mail.indra.com
> 
> Since neither Lisa nor Baralier have done so, I'll be
> brave (or stupid) and tell you about what a dag is in
> relation to sheep. From the Australian Concise Oxford
> Dictionary:
> 
> "dag: a lock of wool clotted with dung on the hinder
> parts of a sheep. (dagged, dagging) remove dags from a
> sheep."
ah. US military term is "dingle berries".
very educational, non?

> 
> Sorry. Makes you see dagged clothing in another light
> no? :)
er, yes. yech.
laurie 
> 
> Bella
> 
> http://movies.yahoo.com.au - Yahoo! Movies
> - What's on at your local cinema?
> 

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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Help with French translation on fabric
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Date: Thu, 9 Jan 2003 16:24:02 -0700
Status: RO

No, I am not absolutely sure.  But the cieuix matches the French word
exactly for 'skys" and les, je, and ne also match the words, the, I and
not.....??



Sg

>>  "Si na bles n'a dessouby (the last two letters of that word are a
guess
>> since the lettering is weird-but I think it is the word:dessous) les
>> cieuix je ne."
>>

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Subject: RE: [h-cost] Daggy
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Date: Thu, 9 Jan 2003 16:26:37 -0700
Status: RO

I certainly expect sheep to have dags, but I don't really want to think
about the US military equivalent-dingle berries.  Also, my mother used
that term like 'silly'.  Like-"Don't be a dingle berry."

Sg



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Date: Thu, 9 Jan 2003 09:25:01 -0800
Status: RO

At 6:15 PM +0000 1/8/03, N Kipar wrote:
>  --- Heather Rose Jones <hrjones@socrates.Berkeley.EDU> wrote: >



>  The disconnect between the available language
>>  and the re-enactment practice tends to be much more from the scarcity
>>  of serious interaction between the historic linguistics and
>>  re-enactment/theater communities, and the steepness of the learning
>>  curve for those trying to understand and apply the historic knowledge
>>  that does exist, given that you can't just say, "Here's a tape, study
>>  and imitate it."
>
>Heather, I have been asking myself throughout your very interesteing post,
>about WHICH period of language study are you talking about?


Well, the basic observation holds for any period before 
sound-recording technology existed: when the knowledge about 
pronunciation can only be communicated with a specialized technical 
vocabulary, that's a bar to most people using the information. 
People are really good about analyzing and imitating aspects of 
pronunciation on an intuitive basis when they're listening directly 
to the speech, but it's a different process to move from that 
intuitive process to an explicit, conscious, technical analysis. 
It's sort of like the difference between being able to look at a bird 
and say "that's a pigeon" and being able to read (or create) a 
description of the physical characteristics that make a pigeon 
different from other birds.

On the other hand, the amount of information about pronunciation or 
language issues will vary enormously for different languages and 
time-periods.


>  > I spend a lot of time trying to describe to non-specialists (in ascii
>>  e-mail yet!) historic pronunciation of something as simple as
>>  personal names -- there are times when you want to throw up your
>>  hands and tell everyone "go learn IPA and then come back and talk to
>>  me" which, of course, is an unreasonable expectation (so I just
>>  _think_ it instead of saying it).
>
>actually, I think it IS a good idea for anyone who is remotely interested in
>linguistics, historic or otherwise.


Oh, if they're interested in linguistics, it's absolutely essential 
-- but if they're interested in learning how to pronounce the one 
particular name they've chosen to use for their historic character, 
it's a bit over-kill.


>  > I guess that, as a historic linguist, I'm bristling a bit at having
>>  my field called "all just guess work" as if it were somehow _more_
>>  guesswork than historic costuming is!
>
>a) I don't think that it was meant that way (I hope...) and b) I ask again,
>because I am curious, which period do you specialise in?
>
>>  Heather
>>  (ask me about medieval Welsh prepositions ... I dare ya!)
>
>Nope, sorry, I think anything Welsh is at the absolute bottom of any of my
>interest lists. *laughs* (or is this in England-insider joke?)

No joke -- I'm currently finishing up my linguistics PhD dissertation 
on metaphoric motivations of the grammaticalization of prepositions 
in Medieval Welsh.  I tend to know the most about the language around 
the 11-14th centuries.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Thu, 9 Jan 2003 09:34:19 -0800
Status: RO

I promise I'll stop talking about linguistics after this.

At 10:23 PM +0000 1/8/03, Jane Williams wrote:


>  > > Heather
>>  > (ask me about medieval Welsh prepositions ... I
>>  dare ya!)
>
>Dare possibly taken.... the other thing I really
>should do to improve my "persona" is learn to talk
>Welsh (or rather, Brythonic) as it was spoken in the
>late 6th century in what is now southern Scotland.
>Only I'm not a linguist, and have no idea where to
>start. It sounds as if you do? Again, replies off-list
>would probably be best?

Unfortunately, that's a particular language/time-period combination 
for which the available information is very small.  Since the 
Brythonic language(s) of the north left essentially no surviving 
written records (leaving aside, for the moment, the complicated 
question of the language of the Gododdin) there's not much basis for 
being able to identify differences between the northern and southern 
subfamilies of the language group in the 6th century.  For the more 
southern Brythonic languages/dialects at that period, we've got a 
pretty good handle on general pronunciation issues (the best place to 
start is Kenneth Jackson's "Language and History in Early Britain" 
although many of his conclusions have been challenged or overturned 
by more recent work).  But while we can have a good idea of what 
individual words were like in 6th century Brythonic, reconstructing 
the overall grammar to the point of being able to come up with 
complete sentences is a much trickier affair.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Date: Thu, 09 Jan 2003 15:59:35 -0800
Status: RO

Thank you for the kind words Robin, but I will not be at Costume-Con, and much
as I would like to.  With the birth on my son, and becoming a stay at home
Dad.  Plus more money problems than I can count, car dying, computer dying,
paying for school for son, Etc, etc.  I just can't afford it.  Which hurts,
trust me.  I hope everyone has a wonderful time, and I will think of you all.

Stephen

Robin Netherton wrote:

> On Thu, 9 Jan 2003, Catelli wrote:
>
> > Ann in CT
> > going to Costume-Con, too, my 8th
>
> I have just had my speaking schedule confirmed for CostumeCon (thanks,
> Karen!). I will be giving five hours of lectures! If I have any breath
> left over I will want to socialize. Who else will be there?
>
> Teddy and Mel are slated to speak, and Stephen Bergdahl, and others from
> this list that I'm not remembering right now and am too pressed to go look
> up, but you can ... <http://jennifarse.com/cc2003/>
>
> --Robin
>
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Medici exhibit in Chicago
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Date: Thu, 9 Jan 2003 19:03:40 -0600
Status: RO

Unfortunately, Chicago and Detroit are the only US cities. It is also being
shown in Florence, Italy, but I don't know if it started there or is ending
there.

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

There's no such thing as too many books!

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

>OK, since I won't be able to hit EITHER of these-- any idea if I've missed
>it being in New York?  Or where I can look it up?


>Lyn Greaves
>Lady Rosamund d'Alwareton
>COM, COTerpsichore, COSalamander



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Date: Thu, 09 Jan 2003 18:04:34 -0500
Status: RO

Hey, Robin,
Do you have one made up in purple?  That could work! ;D

-- Mara


> > I am seriously thinking of making for CostumeCon (my first) a black GFD to
> > wear with heavy makeup, black nail enamel, a black lace veil, and maybe
> > some fishnet stockings and black leather boots. It would be a Goth fitted
> > dress, of course. I probably won't be able to get my act together in time
> > to sew it, but where else could I pull that one? (And what else would I
> > need to complete the outfit?)
> >
> > --Robin

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Date: Thu, 09 Jan 2003 20:17:17 -0500
Status: RO

At 02:36 PM 1/9/2003 -0800, you wrote:
>this sounds really interesting!
>do you  know of any photos online of similar corset?
>Is the paper you have something that can be shared?  or could you
>share your source for it?
>
>.heather.

They're from the Tidy's Symposium Papers.  I've posted three files, 
temporarily:
http://www47.pair.com/lindo/Stays/ChurchillStays1.jpg
http://www47.pair.com/lindo/Stays/ChurchillStays2.jpg
http://www47.pair.com/lindo/Stays/ChurchillStays3.GIF

Cheers,
Mara

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Costume Con, was GFD
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Date: Thu, 09 Jan 2003 16:49:42 -0800
Status: RO


>Thank you for the kind words Robin, but I will not be at Costume-Con, and much
>as I would like to.  With the birth on my son, and becoming a stay at home
>Dad.  Plus more money problems than I can count, car dying, computer dying,
>paying for school for son, Etc, etc.  I just can't afford it.  Which hurts,
>trust me.  I hope everyone has a wonderful time, and I will think of you all.

Some people I know are getting together a bid to do a CostumeCon in San 
Jose, CA, in a few years (can't remember the number they're going for, 
maybe three or four years away).  But that should be close enough for you 
to get to, and long enough away that you can finance the trip.  I'll even 
be there, having volunteered to run their doll competition for them.

BTW, I've seen Stephen's kid - cute, cute, cute.  Of course he was wearing 
one of Daddy's creations when I saw him...

Kayta

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Subject: Re: [h-cost] Costume Con 21
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Date: Thu, 9 Jan 2003 20:46:55 -0500
Status: RO

Awww....I would *so* love to go to Costume-con, but not sure I can warrant
the expense for hotels and such (plus I'm not sure I could convince hubby to
drive all the way to Chicago, since we wouldn't be able to afford to
fly...).  *sigh*

-- Maral

http://sarcasm.fanfic.org
http://www.penthelia.com

----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Cc: <h-costume@indra.com>
Sent: Thursday, January 09, 2003 5:56 PM
Subject: [h-cost] Costume Con 21


>
> Hello Everyone!
>
> We have just over 3 months until Costume Con 21 here in Chicago. While
> the con is for all  types of costuming, there will be a significant
> historical presence. Our own Robin Netherton will be doing several
> programs focusing on 14th and 15th century clothing. Melanie Wilson will
> be doing a panel on Anglo-Saxon costuming as well as an in depth look at
> dyeing. Janet Anderson, of AlterYears, will be doing several panels on
> designing 3-D costumes from 1D and 2D sources (written and visual) as
> well as 18th century movement. Drea Leed will be enlightening us with her
> 16th century 'Well Dress'd Peasant' and Teddy will facilitate a round of
> Chaos Costuming!
>
> Also on tap but still to be firmed up are a series of period dance
> classes taught by Susan de Guardiola.
>
> There are still memberships available, get them while they're hot!
>
> http://www.jennifarse.com/cc2003/
>
>
>
> Karen
>
> ________________________________________________________________
> Sign Up for Juno Platinum Internet Access Today
> Only $9.95 per month!
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> _______________________________________________
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From h-costume-admin@indra.com  Thu Jan  9 21:07:31 2003
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Subject: [h-cost] embroidery on 16'th century smock
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Date: Thu, 9 Jan 2003 18:08:00 -0800 (PST)
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I was wondering if a heraldic rose, satinstitched. in gold pink and cream, with a pearl center would be period on a 16'th century smock. The smock is high necked. and the I will use the double dogwood rose design like the one of the tudor rose. It will be in a single design colour. I have already tried the design out on a piece of linen and I like it, but as far as I can see most smocks were decorated with blackwork embroidery.

Tania



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<P>I was wondering if a heraldic rose, satinstitched. in gold pink and cream, with a pearl center would be period on a 16'th century smock. The smock is high necked. and the I will&nbsp;use the double dogwood rose design like the one of the tudor rose. It will be in a single design colour. I have already tried the design out on a piece of linen and I like it, but as far as I can see most smocks were decorated with blackwork embroidery.</P>
<P>Tania</P><p><br><hr size=1>Do you Yahoo!?<br>
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From h-costume-admin@indra.com  Thu Jan  9 21:13:34 2003
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Subject: [h-cost] Speaking of Costume Con...
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Date: Thu, 09 Jan 2003 21:14:35 -0500
Status: RO

Ok... an aside to Karen, then a query for the rest of you:

Karen, I'll warn you up front that whether that authenticity vs. 
reenactment reality discussion can be two or one depends entirely on who 
I can get to join me for those discussions... since the only post Henry 
VIII reenactment info I have has always been from speaking to others who 
do, rather than doing myself (doing garbed tours of a church way back in 
high school doesn't count :-)

So.... is there anyone out there who has experience in costuming for 
re-enactment purposes (and yes, SCA counts for this) who is interested 
in being on a discussion panel at Costume Con in Chicago this spring? 
 The only definites I have so far are Drea (ok, so that covers most of 
the SCA scope right there :-)  and an almost definite from Paula Peterka 
(I'm working on that one) who has a lot of English Tudor and German 
(same period, both Landsknecht and noble).

Hoping (at the least) to find some who can speak on Colonial America/ 
Early US, and Civil War periods.  

This is supposed to be a "fun thing"... share your horror stories, 
things you've learned (either the hard way or not), things you've 
tried... things you've seen tried, etc... regarding trying to work 
authentic garb for historical re-enactment with what you can get/find 
today.... and shortcuts that some take as well (let's face it, there are 
few of us who are "nuts enough" to completely handsew an outfit from 
scratch these days, for example.... though I'll admit to having done so, 
having no machine when I wanted a dress made for an "event")

If I luck out and hit a point where I've enough for the panel, I'll 
still be more than happy to have you come and participate from the 
"audience".  I'm hoping to convince the folks not up front to contribute 
stories, questions and advice when they can as well... as facinating as 
listening to others' experiences can be, it's all the more useful and 
interesting if that information can apply directly to the "audience" 
members... wanna-bes, novice, or experienced as they might be.

*g* And yes, if you like to talk about any of the above, any time in 
history (think we're cutting it off in the 19th century, but I won't 
object to any WWI/WWII era re-enactment costuming info coming up 
either... it's all interesting, though those are a bit easier to "do" 
because more modern achive info is available, so less 
controvercial/troublesome)     Please let me know, and join us.   I'm 
the first to admit that my actual experience is pretty limited for a 
number of reasons, though I've listened to lots of stories, and planned 
things in my head for years  (as I've told Karen).  I'm happy to give 
the floor to anyone who can enthrall, or help those who come to the 
discussion groups.

I'm also trying to get together a handout of "where to go/where to find" 
information or materials... so if anyone has a favorite from any time 
period, I'd love to hear them.  I started on a nice long list (too long 
for a handout) a year and a half ago... but a computer glitch destroyed 
all my bookmarks *and* just under half of my document files, including 
that one... so I'm *almost* starting from scratch.

-Elisabeth  

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From h-costume-admin@indra.com  Thu Jan  9 22:28:38 2003
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From: "Genie" <kerowyn@mindspring.com>
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Subject: [h-cost] off topic/paper clay
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Date: Thu, 9 Jan 2003 21:31:58 -0600
Status: RO

Anatomy of a Doll: The Fabric Sculptor's Handbook -- by Susanna Oroyan,
et al; Paperback
Buy new: $18.87 -- Used & new from: $14.85
2.   Fantastic Figures: Ideas & Techniques Using the New Clays -- by
Susanna Oroyan; Paperback
Buy new: $16.07 -- Used & new from: $12.74
3.   Finishing the Figure: Doll Costuming, Embellishments, Accessories
-- by Susanna Oroyan; Paperback
Buy new: $20.97 -- Used & new from: $18.98

This is Genie, way behind on posts. All these books are on my wish list.
Also, for those who need a little more incentive, here's an url with
patterns for soft sculpture dolls.

www.magicthreads.com

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Date: Thu, 9 Jan 2003 19:32:39 -0800
Status: RO

At 1:51 PM -0600 1/8/03, Robin Netherton wrote:
>I am seriously thinking of making for CostumeCon (my first) a black GFD to
>wear with heavy makeup, black nail enamel, a black lace veil, and maybe
>some fishnet stockings and black leather boots. It would be a Goth fitted
>dress, of course. I probably won't be able to get my act together in time
>to sew it, but where else could I pull that one? (And what else would I
>need to complete the outfit?)

Appropriate jewelry, of course, especially The Necklace. The 
Necklace, often referred to as a "rosary," is black with accents in 
blood red, dripping with dangles, and should bear at least two or 
three of the following: crucifix, spider, skull, dagger, snake, 
dragon, pentacle, eyeball, lightning bolt, roses, etc. etc. (It's an 
equal opportunity necklace -- treats the symbols of several religions 
with equal respect, or lack of.) Any resemblance to an actual rosary 
is purely coincidental.

Snake finger rings and coordinating bracelets, hair stilettos, etc. 
are optional.

<g>
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Thu, 09 Jan 2003 23:23:25 -0500
Status: RO

On Wed, 08 Jan 2003 22:11:20 -0700, Sue Clemenger <mooncat@in-tch.com> wrote:

>I've always regretted not being able to take classes in learning how to
>recite poetry like that (or later stuff). My English lit classes mostly
>treated it like, well, literature, to be read silently, and critiqued
>and diagrammed into the ground. Blech.

Yuck! I was lucky enough to have a high school English program that had a 
number of electives. One of them I chose, "Classics in World Literature", 
went through a unit on Chaucer. In the process, we were introduced to the 
orthography and pronunciation of Chaucerian English and treated to a short 
passage of a recording of Beowulf recited in the original. This was in the 
fall of 1976, and the teacher even went so far as to compose for us, in the 
style of the Canterbury Tales' prologue, a piece about the Presidential 
election... I may still have it, somewhere...


Brenda Faith Bell       webwarren@earthlink.net
Consultant, The Web Warren      http://www.webwarren.com/

arachne@webwarren.com


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Subject: [h-cost] more christmas presents!
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Date: Thu, 9 Jan 2003 20:25:10 -0800 (PST)
Status: RO



I just got my final christmas present in the mail...
and it's a complete set of Margo's patterns!  yayay!
I am so stunned at how much material comes with them...

*settles down to read all night*

.heather.

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Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings?
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In-Reply-To: <no.id> from "Kevin + Mara" at Jan 09, 2003 08:17:17 PM
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Date: Thu, 9 Jan 2003 21:13:03 -0800 (PST)
Status: RO

that's very much different than I was envisioning - thank you for sharing!

.heather.

> 
> At 02:36 PM 1/9/2003 -0800, you wrote:
> >this sounds really interesting!
> >do you  know of any photos online of similar corset?
> >Is the paper you have something that can be shared?  or could you
> >share your source for it?
> >
> >.heather.
> 
> They're from the Tidy's Symposium Papers.  I've posted three files, 
> temporarily:
> http://www47.pair.com/lindo/Stays/ChurchillStays1.jpg
> http://www47.pair.com/lindo/Stays/ChurchillStays2.jpg
> http://www47.pair.com/lindo/Stays/ChurchillStays3.GIF
> 
> Cheers,
> Mara
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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From: kate <macailith@yahoo.com>
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Date: Thu, 9 Jan 2003 21:55:29 -0800 (PST)
Status: RO

It began in Florence--so Detroit is your best bet if
you can't make it to Chicago.

The catalog is *wonderful*!! A friend of mine bought
it--it has lovely color plates and tremendous
information on all of the pieces.

kate

--- lotsofteapots@charter.net wrote:
> Unfortunately, Chicago and Detroit are the only US
> cities. It is also being
> shown in Florence, Italy, but I don't know if it
> started there or is ending
> there.
> 
> **********************
> Rebecca Schmitt
> aka Mistress Agnes Cabot, wife of Master Peter
> Cabot, cod merchant of
> Bristol,
> BRF FOF
> 
> There's no such thing as too many books!
> 
> lotsofteapots@charter.net
> **********************
> 
> >OK, since I won't be able to hit EITHER of these--
> any idea if I've missed
> >it being in New York?  Or where I can look it up?
> 
> 
> >Lyn Greaves
> >Lady Rosamund d'Alwareton
> >COM, COTerpsichore, COSalamander
> 
> 
> 
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Subject: Re: [h-cost] Costume Con 21
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Date: Thu, 09 Jan 2003 23:07:30 -0700
Status: RO

Ooooh! I sure wish I could afford to go! I'd love to see Robin and Teddy
again, and meet more of you!
*sniff*
--sue goes off, feeling sorry for herself....*sniff*

seamstrix@juno.com wrote:
> 
> Hello Everyone!
> 
> We have just over 3 months until Costume Con 21 here in Chicago. While
> the con is for all  types of costuming, there will be a significant
> historical presence. Our own Robin Netherton will be doing several
> programs focusing on 14th and 15th century clothing. Melanie Wilson will
> be doing a panel on Anglo-Saxon costuming as well as an in depth look at
> dyeing. Janet Anderson, of AlterYears, will be doing several panels on
> designing 3-D costumes from 1D and 2D sources (written and visual) as
> well as 18th century movement. Drea Leed will be enlightening us with her
> 16th century 'Well Dress'd Peasant' and Teddy will facilitate a round of
> Chaos Costuming!
> 
> Also on tap but still to be firmed up are a series of period dance
> classes taught by Susan de Guardiola.
> 
> There are still memberships available, get them while they're hot!
> 
> http://www.jennifarse.com/cc2003/
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Subject: Re: [h-cost] Costume Con 21
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Date: Fri, 10 Jan 2003 05:56:58 -0500
Status: RO


----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Friday, January 10, 2003 1:07 AM
Subject: Re: [h-cost] Costume Con 21


> Ooooh! I sure wish I could afford to go! I'd love to see Robin and Teddy
> again, and meet more of you!
> *sniff*
> --sue goes off, feeling sorry for herself....*sniff*

Me too....I miss Teddy!!

Dianne

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Date: Fri, 10 Jan 2003 08:18:35 EST
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Just wondered if anyone else from h-costume is going to this conference in 
Williamsburg this weekend.  It looks to be pretty fun, check it out here if 
you like:
 <A HREF="http://colonialwilliamsburg.com/history/institute/0301_1_prog.cfm">The Williamsburg Institute</A> 

Cheers,

Loren Dearborn
marionetta@aol.com

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> <BR>
Just wondered if anyone else from h-costume is going to this conference in Williamsburg this weekend.&nbsp; It looks to be pretty fun, check it out here if you like:<BR>
 <A HREF="http://colonialwilliamsburg.com/history/institute/0301_1_prog.cfm">The Williamsburg Institute</A> <BR>
<BR>
Cheers,<BR>
<BR>
Loren Dearborn<BR>
marionetta@aol.com</FONT></HTML>

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Date: Fri, 10 Jan 2003 06:36:42 -0700
Status: RO

Yeah! On the list, AND in person! Him and his cat-print waistcoat <g>.
--sue

Dianne and Greg Stucki wrote:
> 
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: <h-costume@indra.com>
> Sent: Friday, January 10, 2003 1:07 AM
> Subject: Re: [h-cost] Costume Con 21
> 
> > Ooooh! I sure wish I could afford to go! I'd love to see Robin and Teddy
> > again, and meet more of you!
> > *sniff*
> > --sue goes off, feeling sorry for herself....*sniff*
> 
> Me too....I miss Teddy!!
> 
> Dianne
>
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Date: Fri, 10 Jan 2003 09:12:01 -0500
Status: RO

*settles down to read all night*
 
        All night won't do it.  I have had my set from the beginning and
I still haven't read all the way through it.  I have, however, made two
chemise (one with collar, one low neck), a corset, a farthingale, an
underskirt, two french hoods, three partlets and a bodice and skirt using
them.  I LOVE mine.  Enjoy!!!

Lalah
Never give up, Never surrender
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Date: Fri, 10 Jan 2003 07:45:07 -0800 (PST)
Status: RO

On Wed, 08 Jan 2003 22:11:20 -0700, Sue Clemenger
<mooncat@in-tch.com> wrote:

>I've always regretted not being able to take classes
in learning how to
>recite poetry like that (or later stuff). My English
lit classes mostly
>treated it like, well, literature, to be read
silently, and critiqued
>and diagrammed into the ground. Blech.

Quel dommage! I was fortunate enough to enter into a
particularly challenging AP ("advanced placement")
English class for my senior year in high school and we
were all required to memorize and recite the beginning
portion of Chaucer's Canterbury Tales Prologue using
the proper pronunciation. We spent some time
practicing it in class and most of us never got it
QUITE right, but it was a bracing experience, to say
the least. I remember disliking it terribly at the
time, but now, looking back, I see what a treasure it
was. I can still recall the first line, but no more
than that is memorized: "Whan that aprill with his
shoures soote..."

Later, in college and with a little more maturity, I
pined for such experiences and only received them
fleetingly throughout my time as an English literature
major. One teacher required us to memorize and recite
poetry by Gerard Manley Hopkins, who wrote in his
self-styled "sprung" rhythm, and THAT was hard to
figure out. Beowulf, sadly, was thrown at us in
another class by a dull professor who never bothered
to make it come alive for us.

Ironically, many years earlier at the age of five, my
family had been living in a Hippy paradise in the
hills of West Virginia, USA, and during a Halloween
gathering at a local commune, a young man gathered the
children and read us a modernized version of Beowulf
(his idea of a creepy story for young children!). For
the next month or so I had Serious Issues (tm) going
outside after dark to the outhouse (yup, we lived
simply). I was convinced that Grendal was coming to
get me! 

-Tasha

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Date: Fri, 10 Jan 2003 09:06:13 -0800
Status: RO

Tasha McGann wrote in part:

>we were all required to memorize and recite the beginning
>portion of Chaucer's Canterbury Tales Prologue using
>the proper pronunciation.
>
>I can still recall the first line, but no more
>than that is memorized: "Whan that aprill with his
>shoures soote..."
>
>  
>
If you'd like to revisit that experience, go to this site
http://www.towson.edu/~duncan/chaucer/
which is an electronic edition of the Tales, with dry, dusty professors 
reading it aloud.
Click on text, and the little bull-horn looking icons to the right will, 
when clicked on, play parts of the text.
It works better in IE than Mozilla for me.

liz


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Date: Fri, 10 Jan 2003 12:36:11 -0500
Status: RO

I, too, am working on an embroidered smock (I have finished half of the 
first set of the pattern on one cuff) and in Janet Arnold's Elizabethan and 
Jacobean Smocks and Shirts, she provides a list of New Year's gifts to QE1 
in 1559.  One smock is "wrought with blak and silke and golde", another with 
blue silk, another with silver an black silk, and one "wrought with golde 
silver and silke purled with pipes of gold" (couched?). So they're certainly 
using colours.  I wonder about stitching one element with colour and just 
black everywhere else, though.  My colour-coordinated modern self would use 
the colours throughout, having no documentation as to how coloured silks 
WERE used.



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson





>From: Tania Gruning <tania_gr17@yahoo.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>Subject: [h-cost] embroidery on 16'th century smock
>Date: Thu, 9 Jan 2003 18:08:00 -0800 (PST)
>
>
>I was wondering if a heraldic rose, satinstitched. in gold pink and cream, 
>with a pearl center would be period on a 16'th century smock. The smock is 
>high necked. and the I will use the double dogwood rose design like the one 
>of the tudor rose. It will be in a single design colour. I have already 
>tried the design out on a piece of linen and I like it, but as far as I can 
>see most smocks were decorated with blackwork embroidery.
>
>Tania
>
>
>
>---------------------------------
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>Yahoo! Mail Plus - Powerful. Affordable. Sign up now


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Date: Fri, 10 Jan 2003 12:44:44 -0500
Status: RO

Wow, thanks a lot - that is a neat site!

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Subject: [h-cost] Leine question
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Date: Fri, 10 Jan 2003 11:22:17 -0800
Status: RO

Hi all,

I'm currently in the process of totally redoing my Elizabethan "Irish" 
ensemble for Calaveras Celtic festival this year.  (Anyone who was there 
last year and remembers the temperature and snow Saturday night would 
understand why... ;) )  I've got blue twill wool suiting that I shrunk to 
within an inch of it's life, and I'm making the typical "bog dress" 
(patterned after the one at Chivalry Sports) from it.  But my question 
regards the leine that I'm making to go under it.

I'm confused by the great varience in styles that I've seen, some described 
as more or less period.

There are straight sleeves, made from rectangles of fabric that go straight 
to the side seams.  There are the "swoopy" sleeves that taper at the armhole 
to lessen the bulk of fabric under the arm.
There are pleated leines, leines with drawstrings on the sleeves, and leines 
with ties in them to hold up the sleeves instead.
There are sleeves "pockets" that are shortish - only about a foot or two 
from the wearer's wrist.  There are also pointed sleeves that are so long 
they get tucked into the wearer's belt in back.

My question is, of course, which of all these options would one consider 
more period?  Or peri-oid?  I've heard so much conflicting opinion on this 
that I'm just dying to know what everyone on this list thinks.

Thanks!

-Laura
(Miss Maryanne Gubbins, Fezziwigs; Alessia Sofia Diannah DiMartino d'Arezzo, 
Herbalisst, Guild of Santa Maria)


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From: kat@grendal.rain.com
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Subject: Re: [h-cost] embroidery on 16'th century smock
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Date: Fri, 10 Jan 2003 12:48:02 -0800
Status: RO


> I, too, am working on an embroidered smock (I have finished half of
> the first set of the pattern on one cuff) and in Janet Arnold's
> Elizabethan and Jacobean Smocks and Shirts, she provides a list of New
> Year's gifts to QE1 in 1559.  One smock is "wrought with blak and
> silke and golde", another with blue silk, another with silver an black
> silk, and one "wrought with golde silver and silke purled with pipes
> of gold" (couched?). So they're certainly using colours.  I wonder
> about stitching one element with colour and just black everywhere
> else, though.  My colour-coordinated modern self would use the colours
> throughout, having no documentation as to how coloured silks WERE
> used.

In Queen Elizabeth's Wardrobe Unlock'd (also by Janet Arnold) she 
shows some of the embroideries (and although in B&W you can tell how 
color is used).

Of course, these are for Elizabeth's time and are not necessarily 
applicable to the 16th C prior to her becoming Queen. There were some 
shifting of color usage and embroidery styles around that time.

Kat Russell
<kat@grendal.rain.com>

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Date: Fri, 10 Jan 2003 15:43:09 -0500
Status: RO

It always surprises me just who is using my website.  I just got a curator a
museum of Natural History in California.  They wanted to use a photo on my
1908 McCall's webpage in an exhibit.
http://www.costumegallery.com/McCalls/May_1908/Ladies_Hats.htm  They want to
use the image in the lower left, second row in an exhibit.  I told her that
I had a lot prettier hat photos that I would be glad share.  No, she wanted
this specific image.  This left me wondering why.  Look at the description
under the hat... the word "aigrettes".  The aigrette are the white feathers
on the hat.  The exhibit is about birds and those drove to near extinction.
She told me that the aigrette bird was drove to near extinction by the
fashion industry using their feathers on hats.  Later on, laws prevented the
use of certain bird feathers on hats, including the aigrette.

I learned something new!

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: Fri, 10 Jan 2003 16:30:30 -0500 (EST)
Status: RO

Is the "aigrette" related to the "egret" ?

Drea

On Fri, 10 Jan 2003, Penny Ladnier wrote:

> It always surprises me just who is using my website.  I just got a curator a
> museum of Natural History in California.  They wanted to use a photo on my
> 1908 McCall's webpage in an exhibit.
> http://www.costumegallery.com/McCalls/May_1908/Ladies_Hats.htm  They want to
> use the image in the lower left, second row in an exhibit.  I told her that
> I had a lot prettier hat photos that I would be glad share.  No, she wanted
> this specific image.  This left me wondering why.  Look at the description
> under the hat... the word "aigrettes".  The aigrette are the white feathers
> on the hat.  The exhibit is about birds and those drove to near extinction.
> She told me that the aigrette bird was drove to near extinction by the
> fashion industry using their feathers on hats.  Later on, laws prevented the
> use of certain bird feathers on hats, including the aigrette.
>
> I learned something new!
>
> 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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Subject: Re: [h-cost] Authentic pronunciations
From: Marsha Hamilton <mjh@pearlandplume.com>
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Date: Fri, 10 Jan 2003 16:41:45 -0500
Status: RO

Plimoth Plantation used to sell an audio tape (I have a copy) called
"O FOR A MUSE OF FOYRE!" by Richard Scollins and Ram's Bottom.  It was $9.95
back in the day and demonstrates the accent used by interpretive staff at
Plimoth Plantation.

Foyre (like foyer) by the way is the pronunciation of "fire".  If you listen
to the tape enough times, you can pick up the accent which is rough, vaguely
rural English, fun to try.

I didn't find the tape listed on Plimoth's website <www.plimoth.org> but
they may be able to assist if you contact them.  Good luck.

Marsha
---------

on 1/7/03 2:42 PM, Lloyd Mitchell at rmitchell@washjeff.edu wrote:

> Lisa as a starter, you might contact Plimouth Plantation, Plymouth, Ma. and
> ask if their research material used for the living history site would be
> available...at least their resources.  They 'do' 1603-1627 and are renowned
> for their success in preparing their actors for the Life.
> Kathleen

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Date: Fri, 10 Jan 2003 18:51:31 -0800
Status: RO



Carolyn Kayta Barrows wrote:

> BTW, I've seen Stephen's kid - cute, cute, cute.  Of course he was wearing
> one of Daddy's creations when I saw him...
>
> Kayta
>
>

Just in case anyone wants to see here is his web page.

http://www.2xtreme.net/~madly/Raymond/Start/Raymond.htm

Enjoy, and be warned I will be at Costume-Con in Salt Lake City.  It's
driving
distance from Sacramento.  We are going to take a week off and do a
family trip.

Stephen
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Date: Sat, 11 Jan 2003 00:14:33 -0500
Status: RO

Liz / Cozit wrote:

> So.... is there anyone out there who has experience in costuming for 
> re-enactment purposes (and yes, SCA counts for this) who is interested 
> in being on a discussion panel at Costume Con in Chicago this spring? 
> The only definites I have so far are Drea (ok, so that covers most of 
> the SCA scope right there :-)  and an almost definite from Paula Peterka 
> (I'm working on that one) who has a lot of English Tudor and German 
> (same period, both Landsknecht and noble).

	um, well I've been doing Viking for a while - my group 
(Ostvik) is often "neighbors" at events with Paula's group, 
and I'll be at CC21 - even competing Sat & Sun. I don't have 
any horror stories, but I've been around Denmark and Norway 
and met reenactors there and compared what I see Americans 
do and what I saw there. Is that any help to you? Dunno what 
my tech times will be, though. Susan and I were also 
planning on wearing our vikings at some point during the 
weekend.

	-Judy Mitchell

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Date: Fri, 10 Jan 2003 22:26:41 -0700
Status: RO

Stephen! He's *adorable!*
--sue

Stephen Bergdahl wrote:
> 
> Carolyn Kayta Barrows wrote:
> 
> > BTW, I've seen Stephen's kid - cute, cute, cute.  Of course he was wearing
> > one of Daddy's creations when I saw him...
> >
> > Kayta
> >
> >
> 
> Just in case anyone wants to see here is his web page.
> 
> http://www.2xtreme.net/~madly/Raymond/Start/Raymond.htm
> 
> Enjoy, and be warned I will be at Costume-Con in Salt Lake City.  It's
> driving
> distance from Sacramento.  We are going to take a week off and do a
> family trip.
> 
> Stephen
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Date: Fri, 10 Jan 2003 23:31:01 -0600
Status: RO

Kayta said (Hi, Kayta!)

>Some people I know are getting together a bid to do a CostumeCon in San
>Jose, CA, in a few years (can't remember the number they're going for,
>maybe three or four years away).  But that should be close enough for you
>to get to, and long enough away that you can finance the trip.  I'll even
>be there, having volunteered to run their doll competition for them.
>Kayta

CC 26, in 2008.  (not that long at all......)

>Awww....I would *so* love to go to Costume-con, but not sure I can warrant
>the expense for hotels and such (plus I'm not sure I could convince hubby to
>drive all the way to Chicago, since we wouldn't be able to afford to
>fly...).  *sigh*
>
>-- Maral

Where are you, Maral?  The Costume-Con's after this one are:
         CC 22:  Atlanta
         CC 23:  Provo, UT
         CC 24 (bid): Des Moines, IA
         CC 25 (bid): St. Louis
         CC 26 (bid): San Jose
Hopefully one of them will be close enough!

>This is Genie, way behind on posts. All these books are on my wish list.
>Also, for those who need a little more incentive, here's an url with
>patterns for soft sculpture dolls.
>
>www.magicthreads.com

Ah, yes...Magic Threads....The owner/artist, Julie McCullough, lived in 
Lincoln, NE for several years.  I love her stuff...Want to do something 
full size based on something of hers someday.

>Ooooh! I sure wish I could afford to go! I'd love to see Robin and Teddy
>again, and meet more of you!
>*sniff*
>--sue goes off, feeling sorry for herself....*sniff*

Sue, see above - don't know if Robin and Teddy will be able to get there, 
but the one in Utah might be do-able for you??

>Quel dommage! I was fortunate enough to enter into a
>particularly challenging AP ("advanced placement")
>English class for my senior year in high school and we
>were all required to memorize and recite the beginning
>portion of Chaucer's Canterbury Tales Prologue using
>the proper pronunciation. We spent some time
>practicing it in class and most of us never got it
>QUITE right, but it was a bracing experience, to say
>the least. I remember disliking it terribly at the
>time, but now, looking back, I see what a treasure it
>was. I can still recall the first line, but no more
>than that is memorized: "Whan that aprill with his
>shoures soote..."
>
>  Beowulf, sadly, was thrown at us in
>another class by a dull professor who never bothered
>to make it come alive for us.
>Ironically, many years earlier at the age of five, my
>family had been living in a Hippy paradise in the
>hills of West Virginia, USA, and during a Halloween
>gathering at a local commune, a young man gathered the
>children and read us a modernized version of Beowulf
>(his idea of a creepy story for young children!). For
>the next month or so I had Serious Issues (tm) going
>outside after dark to the outhouse (yup, we lived
>simply). I was convinced that Grendal was coming to
>get me!
>
>-Tasha

Tasha,
         Get a CD of Benjamin Britten's "Ceremony of Carols". It's all in 
Chaucerian English, and the music is really nice also.  We performed it 
several times in college choir.
         Also, when our oldest nephew was reading Beowulf (when he was 
about 10), his younger brother (about 6) wanted to be Grendel for Halloween 
- and knew exactly who Grendel was!

We'll be at CC 21 (we'd better, we're on the committee!).

Pierre and Sandy

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda


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Date: Sat, 11 Jan 2003 14:19:22 +0200 (EET)
Status: RO

On Tue, 7 Jan 2003, Gwyn Carnegie wrote:

> There is one pattern from Promenade but I haven't made that one up yet.
> Carolynn reviewed it on the GBACG site
> http://www.gbacg.org/Patterns/promenade.htm.

Where can one get Promenade Patterns, BTW? Do they have a web page
somewhere?

-- 
Lynoure Rajamaki
lynoure@tuug.fi

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Several things
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Date: Sat, 11 Jan 2003 04:30:36 -0800
Status: RO

Pierre & Sandy Pettinger writes, in a message sent 11:31 PM 1/10/03 -0600:
>Kayta said (Hi, Kayta!)
>
>>Some people I know are getting together a bid to do a CostumeCon in San
>>Jose, CA, in a few years (can't remember the number they're going for,
>>maybe three or four years away).  But that should be close enough for you
>>to get to, and long enough away that you can finance the trip.  I'll even
>>be there, having volunteered to run their doll competition for them.
>>Kayta
>
>CC 26, in 2008.  (not that long at all......)

If I remember that I will turn 58 that year, it will come faster than I 
want it to.

>         CC 23:  Provo, UT

The Golden Spike Ceremony place, where the two transcontinental railroads met?


>>www.magicthreads.com
>
>Ah, yes...Magic Threads....The owner/artist, Julie McCullough, lived in 
>Lincoln, NE for several years.  I love her stuff...Want to do something 
>full size based on something of hers someday.

Nobody's legs are that long.


Kayta

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

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Help with French translation on fabric
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Date: Sat, 11 Jan 2003 09:08:50 +0000
Status: RO

Any chance of a piccy?  It looks like definetely from somwhere in what 
is now France, but there are all sorts of variation depending on time 
and place through the middle ages, quite apart from interesting 
spellings.  I could pass it on to a friend who studies Old French. 
Sometimes you can get caught out, for example "ja" is easy to read as a 
mis-spelling of "je", but it actually equates to "jamais" - never.

Jean


Saragrace Knauf <saragrace@earthlink.net> wrote
>Through a friend of a friend I have some extra fabric that was
>supposedly used at the Biltmore for decoration.  It is done in
>"renaissance" green, blue red etc and depicts a man and woman on either
>side of a ship.  It has a saying across the top (like might have been
>used for heraldry) that says:
>
> "Si na bles n'a dessouby (the last two letters of that word are a guess
>since the lettering is weird-but I think it is the word:dessous) les
>cieuix je ne."
>
>
>The best I can do is:
>
> "So I do not wound under the skys"
>
> Don't laugh too hard!!  Any help is appreciated.
>
>Sg
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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From: <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] Authentic pronunciations
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Date: Sat, 11 Jan 2003 12:07:30 -0500
Status: RO


> 
> From: Marsha Hamilton <mjh@pearlandplume.com>
> Date: 2003/01/10 Fri PM 04:41:45 EST
> To: <h-costume@indra.com>
> Subject: Re: [h-cost] Authentic pronunciations
> 
> Plimoth Plantation used to sell an audio tape (I have a copy) called
> "O FOR A MUSE OF FOYRE!" by Richard Scollins and Ram's Bottom.  It was $9.95
> back in the day and demonstrates the accent used by interpretive staff at
> Plimoth Plantation.
> 
> Foyre (like foyer) by the way is the pronunciation of "fire".  If you listen
> to the tape enough times, you can pick up the accent which is rough, vaguely
> rural English, fun to try.
> 
> I didn't find the tape listed on Plimoth's website <www.plimoth.org> but
> they may be able to assist if you contact them.  Good luck.
> 
> Marsha
> ---------


    The tape is still available, though I am having trouble remembering where I last saw it.  Try Sykes Sutlery.  It is NOT however THE accent used at Plimoth. It was produced by a British Company.  Plimoth uses several different dialects reflecting the main areas of England that the Pilgrim's originally came from.  They are expected to learn the dialect assigned to their character.  The interpreters there are also taught a smattering of Nederlander since they had been leaving there.

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] early 1400s Italian shirt questions
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Date: Sat, 11 Jan 2003 12:08:16 -0600 (CST)
Status: RO


I know when I'm out of my element ... I don't do Italian. And a friend of
mine has asked me what the best approach would be for an Italian man's
shirt. He's with a combat techniques group that does demonstrations, and
he wants something to wear for practices that is consistent with the time
period of the early fencing manual he's working from -- 1409. (I've got a
question out to him on exactly where in Italy, but it probably doesn't
matter to him.) I could help him for England and France, but Italy was
doing different things at this point.

He doesn't want something too fancy or poufy. It is for work, not
"pretty," so should be an everyday shirt suitable to a military man from
the period, and not so full it will interfere with the physical action of
fencing. The garment should be suitable for wearing by itself. This is
where my knowledge breaks down, as shirts were still essentially underwear
in England/France and cut accordingly. I have some Flemish illustrations
of visible shirts from 1440 or so that I could draw on, but Italian
resources would be better.

Complication:  My friend does not sew, and the woman who will be doing his
sewing has never done historical costume. She has asked for a pattern or
guide; she's smart and could certainly work from diagrams. So, is there a
site or source for a pattern or construction method that would be
appropriate to this particular time? I'm sure there are a lot of "generic
medieval" shirt designs out there, but I wouldn't know which one comes
closest to the right techniques and look, not without doing significant
research that I don't have the time or desire to do right now.

So I'm hoping that someone else out there has already done that research
and can tell me off the top of your head where to find:

-- an existing pattern or construction diagram suitable for this period,
either a modern (but researched) version, a diagram of an extant garment,
or an article covering this style/construction

-- or, failing that, the key details characteristic of shirts in this
period, e.g. use of collars or cuffs, neckline shape and fastening, use of
a yoke, rectalinear cut vs. set-in sleeves, gores, length, number of body
panels, pleatings or gatherings, etc., and a general idea of where you got
the information

-- or, failing that, one good book that has many suitable pictures.
(Please don't direct me to books that "might be a good place to start
looking." I do know how to start basic research from scratch, but this is
*not* what I have time to do right now.)

Many, many thanks in advance.

--Robin


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
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Date: Sat, 11 Jan 2003 19:17:45 -0000
Status: RO

Robin wrote:
Subject: [h-cost] early 1400s Italian shirt questions


> I know when I'm out of my element ... I don't do Italian. And a
friend of
> mine has asked me what the best approach would be for an Italian
man's
> shirt. He's with a combat techniques group that does demonstrations,
and
> he wants something to wear for practices that is consistent with the
time
> period of the early fencing manual he's working from -- 1409.
...
> He doesn't want something too fancy or poufy. It is for work, not
> "pretty," so should be an everyday shirt suitable to a military man
from
> the period, and not so full it will interfere with the physical
action of
> fencing. The garment should be suitable for wearing by itself.

It sounds to me as if he's got hold of the new translation of  Fiore
del Liberi da Premariacco's 'Flos Duallatorum' (c.1409 - 1410)
published in 2002; it was said to be a synthesis of many different
styles encountered by the author over 50 years or so of fighting.

The nice thing is that the original was illustrated, and a few of the
illustrations are available on the web; see, for example:

http://jan.ucc.nau.edu/~wew/other/EXTRACT.htm

You will note the absence of a shirt bearing any resemblance to the
one your friend requires, which is just as well since no-one in their
right minds, then or now, practises with any sword or knife, blunt,
edged, pointed or serrated, just wearing a shirt. That was restricted
to bad Hollywood movies. At the very least he needs leather, and up
from that it's mail/armour of some size, shape or form. The cloak work
discussed in the treatise was also an integral part of fighting
methods, and for obvious reasons practise can only be done with a
cloak.
The crown is optional:-)
Actually, it's there to identify the winner of the exchange, and so is
superfluous in any practise session.

best wishes
Stevie



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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Sat, 11 Jan 2003 13:42:56 -0600 (CST)
Status: RO


On Sat, 11 Jan 2003, Stevie Gamble wrote:

> It sounds to me as if he's got hold of the new translation of Fiore
> del Liberi da Premariacco's 'Flos Duallatorum' (c.1409 - 1410)
> published in 2002; it was said to be a synthesis of many different
> styles encountered by the author over 50 years or so of fighting.

Yep, that's the one.

> You will note the absence of a shirt bearing any resemblance to the
> one your friend requires, which is just as well since no-one in their
> right minds, then or now, practises with any sword or knife, blunt,
> edged, pointed or serrated, just wearing a shirt. That was restricted
> to bad Hollywood movies.

As it stands now, he is practicing in a modern t-shirt. I suspect heat at
the practice site is an issue here. He wants something suitable for
practice that would replace the t-shirt with something more physically
appropriate. (I think this is as much for his own experience and mental
state as any issue of what people see. I'm sure it doesn't *feel*
authentic to practice in a t-shirt.)

I would guess, though I haven't asked (and I will), that they use some
sort of protective gear (masks, vests) that are acceptable by modern
safety standards when they are using weapons that can cause harm to the
unprotected body. If he's wearing that over the t-shirt, then it's still a
t-shirt he needs to replace, since he would not be replacing the safety
gear with period leather vests, mail, etc. I will have to ask if they have
or use the latter for demonstrations. I think their emphasis is the study
of the mechanics of various periods' fighting techniques, not doing
costumed show.

Thanks for the lead on the illos. I was just wondering if the manual were
illustrated.

--Robin


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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10301111335120.32011-100000@shell.nightowl.net>
Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Sat, 11 Jan 2003 13:01:18 -0800
Status: RO

I have recently taken up renaissance fencing, although the real interested
party in the sport is my son, and the guidelines for practice is that all
skin should be covered, which leaves a few T-shirts out.  Also, having a
period sleeve (slightly poofy) impacts a bout and is an advantage as your
opponent's sword can get caught in and you have the opportunity then to
attack. Touches to your shirt fabric do not count against you.  It's handy
to practice in a period shirt for this reason especially if the group you
are in uses period clothing in their tournaments.  It's pretty common to
wear only shirts for slow paced practice probably due to the heat factor.

Lisa


----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Saturday, January 11, 2003 11:42 AM
Subject: Re: [h-cost] early 1400s Italian shirt questions


> I would guess, though I haven't asked (and I will), that they use some
> sort of protective gear (masks, vests) that are acceptable by modern
> safety standards when they are using weapons that can cause harm to the
> unprotected body. If he's wearing that over the t-shirt, then it's still a
> t-shirt he needs to replace, since he would not be replacing the safety
> gear with period leather vests, mail, etc. I will have to ask if they have
> or use the latter for demonstrations. I think their emphasis is the study
> of the mechanics of various periods' fighting techniques, not doing
> costumed show.
>
> Thanks for the lead on the illos. I was just wondering if the manual were
> illustrated.
>
> --Robin
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sat, 11 Jan 2003 13:01:00 -0800 (PST)
Status: RO



this is one of those "I'm speechless" sorts of auctions.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690



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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Sat, 11 Jan 2003 15:16:13 -0600 (CST)
Status: RO


On Sat, 11 Jan 2003, Lisa Sinervo wrote:

> It's handy to practice in a period shirt for this reason especially if
> the group you are in uses period clothing in their tournaments.  It's
> pretty common to wear only shirts for slow paced practice probably due
> to the heat factor.

Great! So tell me about your period shirts :-) ... what period, what
design?

--Robin

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From h-costume-admin@indra.com  Sat Jan 11 16:27:34 2003
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Date: Sat, 11 Jan 2003 15:32:09 -0600
Status: RO

Harper House sells them:
http://www.longago.com/edward.html

Sheryl Nance-Durst

At 02:19 PM 1/11/03 +0200, you wrote:
>On Tue, 7 Jan 2003, Gwyn Carnegie wrote:
>
> > There is one pattern from Promenade but I haven't made that one up yet.
> > Carolynn reviewed it on the GBACG site
> > http://www.gbacg.org/Patterns/promenade.htm.
>
>Where can one get Promenade Patterns, BTW? Do they have a web page
>somewhere?
>
>--
>Lynoure Rajamaki
>lynoure@tuug.fi
>
>_______________________________________________
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From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] just ... wow.
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Date: Sat, 11 Jan 2003 15:35:59 -0600
Status: RO

They want $3000 for that!?!
That picture is a scan from the cover of a commercial pattern!

You may be speechless, but I can think of a few choice words...

Sheryl Nance-Durst

At 01:01 PM 1/11/03 -0800, you wrote:


>this is one of those "I'm speechless" sorts of auctions.
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690
>
>
>
>_______________________________________________
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Subject: Re: [h-cost] Hint for making 1913 evening dress
To: h-costume@indra.com
In-Reply-To: <no.id> from "Sheryl Nance-Durst" at Jan 11, 2003 03:32:09 PM
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Date: Sat, 11 Jan 2003 13:34:25 -0800 (PST)
Status: RO

I started a 1913 dress, but never finished it since I ended up being
in another state the weekend the even was going to be --
there are some good links for undergarments and other resources
that I found, though:

http://www.sewhipithurts.com/archives/cat_1914_garden_dress.shtml


> 
> Harper House sells them:
> http://www.longago.com/edward.html
> 
> Sheryl Nance-Durst
> 
> At 02:19 PM 1/11/03 +0200, you wrote:
> >On Tue, 7 Jan 2003, Gwyn Carnegie wrote:
> >
> > > There is one pattern from Promenade but I haven't made that one up yet.
> > > Carolynn reviewed it on the GBACG site
> > > http://www.gbacg.org/Patterns/promenade.htm.
> >
> >Where can one get Promenade Patterns, BTW? Do they have a web page
> >somewhere?
> >
> >--
> >Lynoure Rajamaki
> >lynoure@tuug.fi
> >
> >_______________________________________________
> >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] You Never Know
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Date: Sat, 11 Jan 2003 15:40:16 -0600
Status: RO

Didn't I read an article on this subject in Smithsonian magazine several
years ago?

Sheryl Nance-Durst

At 03:43 PM 1/10/03 -0500, you wrote:
>It always surprises me just who is using my website.  I just got a curator a
>museum of Natural History in California.  They wanted to use a photo on my
>1908 McCall's webpage in an exhibit.
>http://www.costumegallery.com/McCalls/May_1908/Ladies_Hats.htm  They want to
>use the image in the lower left, second row in an exhibit.  I told her that
>I had a lot prettier hat photos that I would be glad share.  No, she wanted
>this specific image.  This left me wondering why.  Look at the description
>under the hat... the word "aigrettes".  The aigrette are the white feathers
>on the hat.  The exhibit is about birds and those drove to near extinction.
>She told me that the aigrette bird was drove to near extinction by the
>fashion industry using their feathers on hats.  Later on, laws prevented the
>use of certain bird feathers on hats, including the aigrette.
>
>I learned something new!
>
>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  Sat Jan 11 16:42:33 2003
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10301111515150.32011-100000@shell.nightowl.net>
Subject: Re: [h-cost] fencing shirts - attn:  Glenda Robinson
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Date: Sat, 11 Jan 2003 13:51:12 -0800
Status: RO

umm........didn't I say I only recently took up the sport?

The group that I am in is a fencing school and so far they have had little
costume standards or even knowledge of the subject although they do perform
at Renaissance Fairs.  They have recently settled upon being late the 1500's
King's guard - French, unfortunately most dress like they are from the
1630's.  In the last 72 hours I have agreed to do a bit of research for them
and write up a few costuming tips.   I haven't even started, so sorry, I
can't be of any further assistance.

I will say though it has been interesting to observe a bunch of fencers with
little historical knowledge (or concern) of costumes decide what to wear.
Invariably they encourage each other to have slashed sleeves simply due to
the advantage it gives them when fighting, again, the sword does
occasionally get tangled in the sleeves.

There is a Glenda Robinson who has been lurking on this list.  She is with
the Routier's - The Pike and Musket Society a group well known for their
costuming and fencing skills.  Glenda, have you any suggestions for Robin?

Cheers,

Lisa


----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Saturday, January 11, 2003 1:16 PM
Subject: Re: [h-cost] early 1400s Italian shirt questions


>
> On Sat, 11 Jan 2003, Lisa Sinervo wrote:
>
> > It's handy to practice in a period shirt for this reason especially if
> > the group you are in uses period clothing in their tournaments.  It's
> > pretty common to wear only shirts for slow paced practice probably due
> > to the heat factor.
>
> Great! So tell me about your period shirts :-) ... what period, what
> design?
>
> --Robin
>
> _______________________________________________
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] fencing shirts - attn:  Glenda Robinson
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Date: Sat, 11 Jan 2003 16:05:11 -0600 (CST)
Status: RO


On Sat, 11 Jan 2003, Lisa Sinervo wrote:

> The group that I am in is a fencing school and so far they have had
> little costume standards or even knowledge of the subject although
> they do perform at Renaissance Fairs.  They have recently settled upon
> being late the 1500's King's guard - French, unfortunately most dress
> like they are from the 1630's.  In the last 72 hours I have agreed to
> do a bit of research for them and write up a few costuming tips.  I
> haven't even started, so sorry, I can't be of any further assistance.

You've been a help already. Thanks.

> There is a Glenda Robinson who has been lurking on this list.  She is
> with the Routier's - The Pike and Musket Society a group well known
> for their costuming and fencing skills.  Glenda, have you any
> suggestions for Robin?

And in case Glenda missed my earlier post, I'm inquiring on behalf of a
friend who wants a shirt appropriate for c. 1400 Italian fencing practice.
Truth is, though, anyone who has knowledge of c. 1400 Italian shirts can
give me some clues, regardless of whether they have fencing experience.

--Robin


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Subject: Re: [h-cost] Hint for making 1913 evening dress
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Date: Sat, 11 Jan 2003 13:58:23 -0800
Status: RO

Try this link:

http://www.longago.com/edward.html

There are two in a row, about half way down.

Theresa Eacker

Ella Lynoure Rajamaki wrote:

> On Tue, 7 Jan 2003, Gwyn Carnegie wrote:
> 
> 
>>There is one pattern from Promenade but I haven't made that one up yet.
>>Carolynn reviewed it on the GBACG site
>>http://www.gbacg.org/Patterns/promenade.htm.
>>
> 
> Where can one get Promenade Patterns, BTW? Do they have a web page
> somewhere?
> 
> 


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Date: Sat, 11 Jan 2003 22:00:49 -0000
Status: RO

Lisa wrote:

> I have recently taken up renaissance fencing, although the real
interested
> party in the sport is my son, and the guidelines for practice is
that all
> skin should be covered, which leaves a few T-shirts out.
>Also, having a
> period sleeve (slightly poofy) impacts a bout and is an advantage as
your
> opponent's sword can get caught in and you have the opportunity then
to
> attack. Touches to your shirt fabric do not count against you.  It's
handy
> to practice in a period shirt for this reason especially if the
group you
> are in uses period clothing in their tournaments.  It's pretty
common to
> wear only shirts for slow paced practice probably due to the heat
factor.


I find that incredible. Someone is going to die, and it could be you,
or your son. Of course, if you were lucky you might just lose an eye,
and perhaps acquire some brain damage with it. No-one with any
experience with fencing taught by professionals could imagine that
'slow paced practise' without proper safety precautions is safe; and a
person who imagines that a cotton t-shirt is cooler than a linen shirt
under leather doesn't seem to know much about that either. Still, I
suppose it will make lots of money for the lawyers. You might care to
check your health insurance, however; it is very unlikely that you
would be covered for injuries acquired in such a fashion.

best wishes
Stevie

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Date: Sat, 11 Jan 2003 16:58:59 -0500
Status: RO

I'd be more impressed if the seller had some idea of exactly what century
they were dealing with...

Dianne
----- Original Message -----
From: "Sheryl Nance-Durst" <sherylnd@kc.rr.com>
To: <h-costume@indra.com>
Sent: Saturday, January 11, 2003 4:35 PM
Subject: Re: [h-cost] just ... wow.


> They want $3000 for that!?!
> That picture is a scan from the cover of a commercial pattern!
>
> You may be speechless, but I can think of a few choice words...
>
> Sheryl Nance-Durst
>
>

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] just ... wow.
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Date: Sat, 11 Jan 2003 16:18:02 -0600 (CST)
Status: RO


On Sat, 11 Jan 2003, Sheryl Nance-Durst wrote:

> They want $3000 for that!?!
> That picture is a scan from the cover of a commercial pattern!

You are apparently not the only one who noticed. This is at the bottom of
the page, with the addition dating from early this morning:

<<On Jan-11-03 at 03:27:16 PST, seller added the following information:

PLEASE READ BEFORE SENDING ANY EMAILS: WE ARE REPRODUCING A PATTERNED
PIECE AS A SPECIAL OFFER ON EBAY ONLY , OUR DRESSMAKING SERVICES USES
ORIGINAL VINTAGE PATTERNS AND HISTORIC COSTUME IMAGES, THIS GOWN IS A 19th
CENTURY INTERPRETATION OF AN 18TH CENTURY GOWN , DUE TO THE NATURE OF THE
SELLING PROCESS ON EBAY WE ARE SAFEGUARDING THE DRESSMAKING PROCESS TO
ENSURE TOTAL SATISFACTION BY OFFERING A CONTEMPORARY REPRODUCTION IF THE
WINNER HAPPENS TO BE NEW TO VICTORIAN FASHIONS. 
>>

That wording is so opaque I'm not quite sure what all that is supposed to
mean -- "contemporary reproduction" could refer to the garment on offer or
the image they've posted, and "this gown" might be the one in the picture
or the one they're selling.

"Safeguarding the dressmaking process"? Does that mean they're going to
sell a dress made from the pattern (but don't usually), because ebay
buyers presumably want modern fitting and manufacture? Or does it mean
that they're just showing a modern (copyrighted!) picture in this listing
but they really use period methods when sewing? And if so, is that
Victorian methods ("19th century interpretation of an 18th century gown")
or 18th century methods?

If I were buying, I'd sure like to see a picture of what they can really
do, not some modern pattern photo of someone else's work. Hmm, that must
be 20th century interpretation of 19th century interpretation of an 18th
century gown...

I also notice they offer "pure satin or taffeta." Would that be silk or
polyester?

Sounds like they're aiming for the bridal/evening/fancy-dress/revival
market, not for anyone who actually knows anything about historically made
clothing or wants an authentic reproduction.

> >http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690

--Robin


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Date: Sat, 11 Jan 2003 14:32:20 -0800
Status: RO

>  They want $3000 for that!?!
>  That picture is a scan from the cover of a commercial pattern!
>
>  You may be speechless, but I can think of a few choice words...
>
>  Sheryl Nance-Durst
>
>At 01:01 PM 1/11/03 -0800, you wrote:
>  > this is one of those "I'm speechless" sorts of auctions.
>  >
>  > 
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690

Yeah, and the heading is, and i quote, "18th Century Couture Gown". 
Farther down they write, "THIS GOWN IS A 19th CENTURY INTERPRETATION 
OF AN 18TH CENTURY GOWN".

Sheesh. It's a 20th c. interpretation of a 19th c. gown, not very 
good 1870s. I forget which of the major US pattern companies it is, 
Simplicity, i think...

I wonder what century they think they're living in?

Confused they are... among other things...

Anahita
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Date: Sat, 11 Jan 2003 14:32:00 -0800
Status: RO

Ok, they are "custom designing" a dress from a commercial pattern? Using
mail order specs and offering no money back if dress doesn't fit?

hmmmm

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"If we shadows have offended, think but this,
 and all is mended,
That you have but slumbered here,
 while these visions did appear."
A Midsummer Night's Dream; V, ii - W. Shakespeare


----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Saturday, January 11, 2003 1:01 PM
Subject: [h-cost] just ... wow.


>
>
> this is one of those "I'm speechless" sorts of auctions.
>
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690
>
>
>
> _______________________________________________
> 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] just ... wow.
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Date: Sat, 11 Jan 2003 18:11:35 -0500
Status: RO

On Saturday 11 January 2003 05:18 pm, Robin Netherton wrote:

[text cut here]
>
> Sounds like they're aiming for the bridal/evening/fancy-dress/revival
> market, not for anyone who actually knows anything about historically made
> clothing or wants an authentic reproduction.

You can say that again.  To me, the picture looks more like a bad imitation of 
an 1880s style than anything else.  18th Century, my eye!
-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Sun, 12 Jan 2003 00:09:10 +0000 (GMT)
Status: RO

Wouldn't it be better/more productive to email the person with the apparently
offending eBay auction instead of ranting here?

Just a thought, don't stone/flail me. ;-)

Nicole

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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] just ... wow.
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Date: Sat, 11 Jan 2003 16:13:36 -0800 (PST)
Status: RO

I did, already.  with documentation.  I mailed her two days ago, or I would
never have posted here ;)


> 
> Wouldn't it be better/more productive to email the person with the apparently
> offending eBay auction instead of ranting here?
> 
> Just a thought, don't stone/flail me. ;-)
> 
> Nicole
> 
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
> 
> __________________________________________________
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> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
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Subject: Re: [h-cost] just ... wow.
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Date: Sun, 12 Jan 2003 11:11:19 +1100
Status: RO

> They want $3000 for that!?!
> That picture is a scan from the cover of a commercial pattern!
>
> You may be speechless, but I can think of a few choice words...

Hey, I've already got the pattern here (yes it is Simplicity). Although I
know it's not really historically correct, I think it's a pretty dress and I
used the bustle inside the train to make a bustle to go under a different
skirt, so it has been useful.

Wish I could get away with charging $3,000 to make a commercial pattern,
altering slightly to fit a specific person.  Would give my planned costume
career a good start!!!

Karen

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Date: Sun, 12 Jan 2003 11:16:41 +1100
Status: RO

> Wouldn't it be better/more productive to email the person with the
apparently
> offending eBay auction instead of ranting here?

But then we'd have nothing to whinge about :-)

K

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From h-costume-admin@indra.com  Sat Jan 11 19:40:34 2003
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Subject: Re: [h-cost] Fencing garments
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Date: Sat, 11 Jan 2003 16:48:51 -0800
Status: RO

Stevie wrote:
>
> I find that incredible. Someone is going to die, and it could be you,
> or your son. Of course, if you were lucky you might just lose an eye,
> and perhaps acquire some brain damage with it. No-one with any
> experience with fencing taught by professionals could imagine that
> 'slow paced practise' without proper safety precautions is safe; and a
> person who imagines that a cotton t-shirt is cooler than a linen shirt
> under leather doesn't seem to know much about that either. Still, I
> suppose it will make lots of money for the lawyers. You might care to
> check your health insurance, however; it is very unlikely that you
> would be covered for injuries acquired in such a fashion.
>

'slow paced practice's does not mean a slow paced bout with an opponent.  It
means practicing various parries and reposts in slow motion to develop
"muscle memory".  They are done to develop form and lightest touch.  If you
saw it you wouldn't be alarmed. I am referring to beginners too.  For real
bouts at any pace, face masks, leather gloves, gorgets, cups etc. are all
required.  But......a padded doublet is not, although anyone sensible wears
one.

It's not a rinky dink school either, in terms of fencing standards anyway.
One of the six maestros of the school is Brooke Boyer, coach of the last US
Olympic Fencing team.  Maybe it is different in England where it is colder,
but I have found both in the US see
http://home.wwdb.org/atkinsonk/public_html/Tournament_Photos.html ) and in
Australia see http://homepage.powerup.com.au/~pssf/index2.html many historic
fencers do fight in a white shirt or just a shirt in general.  I am more
precautious myself.   Also, I meant a linen shirt is cooler than a shirt and
a doublet.

Lisa


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Date: Sat, 11 Jan 2003 23:48:32 -0500
Status: RO

Hi, All. I believe that I am somewhat qualified to put in my commentary on
this subject. I do theatrical, reconstruction and reenactment combat, armored
and not, and have for some years, as well as being familiar with men's
clothing from various periods. The subject of safety is near and dear to my
heart, having written a number of combat rules/conventions currently in use by
various groups. Certainly, the shirt in this case is not meant or intended as
any sort of protection against injury, so any consideration that it is or
should be is out of the range of this group's mandate. As to construction,
Robin, something in a natural fabric made on similar lines to the St. Louis
shirt pictured in "Cut my Cote", minus the crossed-over collar reenforcement,
should be fine. Collars at that period were small to non-existent, from what
I've seen in paintings, etc. Plain rectangular cuts with underarm gussets, cut
comfortably but not too fully, should suffice. Some of the work on this period
in clothing would be covered by both La Belle Companie here in the US (I think
the URL is the same as the name of the group) and Gerry Embleton/ John Howe's
folks (Companie of St. George in the UK and Switzerland, same info as above).
Contact these folks for more historical details, if that is what you wish.
They are good folks with topnotch research. Hope this helps, Mike T.



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Date: Sun, 12 Jan 2003 01:19:02 -0500
Status: RO

Oh, good grief!

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] Pronunciations and Plimoth
From: Marsha Hamilton <mjh@pearlandplume.com>
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Date: Sun, 12 Jan 2003 02:56:48 -0500
Status: RO

Ron,

Thanks for the update.  I was going from memory and concerned I was off on
the details about the speech patterns used in Plimoth.

I've been to Plimoth Plantation twice now, once as a tourist and once in
costume (after hours) for a muster years ago.  My daughter and I stayed in
what was then the Soule house.  It's a great place.  At night the water is
not that far off, the stars are bright, you're safely behind the barricades,
the animals are making tons of noise, the flush bathroom is disguised as a
Goat House, it was wonderful.  But very hot in summer.

The prize for hot may have gone to an event we attended at Old Salem
Village.  Even so, the evening breeze off the water, a one room house with
open windows (as in no-glass, hole in the wall) made the temperature just
bearable.  Yes, linen is a wonder fiber.  I've grown to loathe cotton in
comparison for heat and water wicking inferiority.  Really learned it the
hard way at an event at St. Marie's Cittie during a deluge of Biblical
proportions.  

Marsha
-------

on 1/11/03 12:07 PM, r.carnegie@verizon.net at r.carnegie@verizon.net wrote:
 
>> From: Marsha Hamilton <mjh@pearlandplume.com>
>> Date: 2003/01/10 Fri PM 04:41:45 EST
>> To: <h-costume@indra.com>
>> Subject: Re: [h-cost] Authentic pronunciations
>> 
>> Plimoth Plantation used to sell an audio tape (I have a copy) called
>> "O FOR A MUSE OF FOYRE!" by Richard Scollins and Ram's Bottom....
>> 
>> ---------
> 
> The tape is still available, though I am having trouble remembering where I
> last saw it.  Try Sykes Sutlery.  It is NOT however THE accent used at
> Plimoth. It was produced by a British Company.  Plimoth uses several different
> dialects reflecting the main areas of England that the Pilgrim's originally
> came from.  They are expected to learn the dialect assigned to their
> character.  The interpreters there are also taught a smattering of Nederlander
> since they had been leaving there.
> 
> Cheers,
> Ron
> 
> R.Carnegie@verizon.net
> "Argue for your limitations, and they are yours."
> R. Bach
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 

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Date: Sun, 12 Jan 2003 00:30:42 -0500
Status: RO

Hi. If the tape was done by Stuart Peachey and his folks, Terry and Raff (Sykes) may be able to acquire it for you, as they are the main importer to the US of Stuart's material. If it was produced specifically for PP, though, you'd have to try their online giftshop. Good Luck, Mike T.  PS Another good knowlegeable resource is Dr, Jeff Forgang (used to be Singman), a curator at the Higgins Armor Museum in Worcester, Mass. MJT



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Date: Sat, 11 Jan 2003 23:19:21 -0800
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>this is one of those "I'm speechless" sorts of auctions.
>
>http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690

I went there, thanx for posting it, but I bet I know why you're speechless.


Kayta

    //// \\\
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Date: Sun, 12 Jan 2003 03:15:27 -0500
Status: RO


----- Original Message -----
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
To: <h-costume@indra.com>
Sent: Saturday, January 11, 2003 12:31 AM
Subject: [h-cost] Re: Several things


> Kayta said (Hi, Kayta!)
>
> >Some people I know are getting together a bid to do a CostumeCon in San
> >Jose, CA, in a few years (can't remember the number they're going for,
> >maybe three or four years away).  But that should be close enough for you
> >to get to, and long enough away that you can finance the trip.  I'll even
> >be there, having volunteered to run their doll competition for them.
> >Kayta
>
> CC 26, in 2008.  (not that long at all......)
>
> >Awww....I would *so* love to go to Costume-con, but not sure I can
warrant
> >the expense for hotels and such (plus I'm not sure I could convince hubby
to
> >drive all the way to Chicago, since we wouldn't be able to afford to
> >fly...).  *sigh*
> >
> >-- Maral
>
> Where are you, Maral?  The Costume-Con's after this one are:
>          CC 22:  Atlanta
>          CC 23:  Provo, UT
>          CC 24 (bid): Des Moines, IA
>          CC 25 (bid): St. Louis
>          CC 26 (bid): San Jose
> Hopefully one of them will be close enough!
>

Ehehehe....I'm in Toronto.  Bleh...

-- Maral


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Subject: [h-cost] Pluderhose
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Date: Mon, 13 Jan 2003 01:46:33 +1030
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<html><div style='background-color:'><DIV>Hello.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Im making pluderhose for my brother using Janet Arnolds Patterns of Fashion as my guide.</DIV>
<DIV>As yet Ive had no problems with how they are to be constructed. What I would like to know is has anyone had any experiance in making them?? Any tips and tricks, especially for the shaped backside. They are a facinating garment and&nbsp;I cant wait to see how they turnout!&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>Rebecca</DIV></div><br clear=all><hr> <a href="http://g.msn.com/8HMFEN/2015">get 2 months FREE*</a> </html>
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Date: Sun, 12 Jan 2003 10:06:57 -0700
Status: RO

Hi, everybody.  Hope you're having a good weekend.
I've lost the original post that asked about Italian coifs, but I think
I've actually found a few....One of those happy accidents (I was looking
in a needlework book for something on opus anglicanum <g>).
At any rate, in the little book _Medieval Craftsmen: Embroiderers_, by
Kay Staniland, there's this great fresco (title page, and page 49),
dated about 1470, and painted by Cosimo Tura and Francesco Cossa.  It is
called "The Triumph of Minerva."  Apparently, it's from Ferrara--at the
Palazzo Schifanoia.  The women are performing a variety of
textile-related activities such as embroidery and weaving.
While virtually every female figure in the fresco seems to have a taped
roll or braid of hair wound around her head, there's one woman (in the
left foreground) wearing a wrapped turban-looking thing, and several
women wearing what looks to me very much like a coif, _over_ those
wrapped hairstyles.  On a couple of the women, you can even see the tape
or tie extending from the parts of the coif near the ear, and going
under the wearer's chin (I'm assuming it's tied on).
They seem to be a bit more, well, shaped, than the coifs I'm used to
thinking of seeing on men from an earlier time.  The bit by the women's
ears is a little elongated--ISTR at least one that looked similar in a
Holbein sketch.  Also, I'd guess this is some sort of allegory <g>, so I
don't know if this style would be representative of women from a certain
class, or only in an informal setting, or only from a certain region of
the Italian peninsula, or what.
But there ya go! Italian coifs!
--sue, who will be adding some to her wardrobe to disguise her woefully
inadequate hair ;-)
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Subject: [h-cost] Re: just ... wow.
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Date: Sun, 12 Jan 2003 11:31:28 -0600
Status: RO

And I felt bad for charging $800.00 for a gown with 45 hours of hand work, that was not 
"THIS GOWN IS A 19th CENTURY INTERPRETATION OF AN 18TH CENTURY GOWN"  It was historically 
accurate.  Sheesh..
-- 
Linda Thompson

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

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I just finished filling out a report form to have ebay look into this.  I did 
this because they are violating many ebay policies.  They are not showing the 
item they are selling.  On Ebay you have to sell an item ... not an item to 
be made.  That is a big no-no,

See what Ebay's opinion of their new disclaimer will be.

Osmondia

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I just finished filling out a report form to have ebay look into this.&nbsp; I did this because they are violating many ebay policies.&nbsp; They are not showing the item they are selling.&nbsp; On Ebay you have to sell an item ... not an item to be made.&nbsp; That is a big no-no,<BR>
<BR>
See what Ebay's opinion of their new disclaimer will be.<BR>
<BR>
Osmondia</FONT></HTML>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] sack dress
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Date: Sun, 12 Jan 2003 23:06:46 +0100
Status: RO

Hi!
If you would like to look over my shoulder and follow my work in making a
sack dress, you can have a look here:
www.my-drewscostumes.dk/sack_dress_1770.htm
I have ben making this dress the last 14 days, and worked very hard besides
my full time job.
Dont let yourself misjudge the colour of the dress. My dig.cam uses two high
flashlight and the colour is not right.
It is shot dupioni dark red and dark green. The closeup picture of the
sleave shows the right colour.
I will try to make some pictures tomorrow in daylight.
I have finished all the pieces and sewed them together.
Then i have to make all the decoration with gathered frills along the
overskirt and along the bodice. And i must make a compare and decorate this
two with gathered frills.
A friend was in need of a dress. Her dress was torned apart when she took
her old dress off. (It was an old second hand dress) Then she asked me for
help.
She is going to selebrate the birdhday of Gustav III at Svartsjø Castle in
Sweden the 21. of january.
Fortunately i have the day off tomorrow and the day after, so that i can
finish the dress and send away for her in time!!!
I have used 14 meter of silk for this dress.
If you would like to see the society of Gustavs Skål wich is selebrating the
birdsday of Gustav III you can have a look at this side: www.gustafsskal.nu
They have some nice pictures i think.

Many greetings

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] You Never Know
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Date: Sun, 12 Jan 2003 17:27:43 -0500
Status: RO

Drea,

I have no idea.  I only know our local birds.

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: "Glenda Robinson" <glendar@compassnet.com.au>
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References: <Pine.LNX.4.10.10301111602410.32374-100000@shell.nightowl.net>
Subject: Re: [h-cost] fencing shirts - attn:  Glenda Robinson
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Date: Mon, 13 Jan 2003 12:57:21 +1100
Status: RO

Sorry, 14th century isn't my period regarding clothing at the moment. When I
used to do this, it was a looong time ago when research wasn't what it is
today, so everything I knew is really only worth forgetting now (and since
my memory is stuffed, I have done so) :-)

I have a lot of information on late 16th/early17th century fencing clothes,
though. Not much use for then.

Glenda.
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Sunday, January 12, 2003 9:05 AM
Subject: Re: [h-cost] fencing shirts - attn: Glenda Robinson


>
> On Sat, 11 Jan 2003, Lisa Sinervo wrote:
>
> > The group that I am in is a fencing school and so far they have had
> > little costume standards or even knowledge of the subject although
> > they do perform at Renaissance Fairs.  They have recently settled upon
> > being late the 1500's King's guard - French, unfortunately most dress
> > like they are from the 1630's.  In the last 72 hours I have agreed to
> > do a bit of research for them and write up a few costuming tips.  I
> > haven't even started, so sorry, I can't be of any further assistance.
>
> You've been a help already. Thanks.
>
> > There is a Glenda Robinson who has been lurking on this list.  She is
> > with the Routier's - The Pike and Musket Society a group well known
> > for their costuming and fencing skills.  Glenda, have you any
> > suggestions for Robin?
>
> And in case Glenda missed my earlier post, I'm inquiring on behalf of a
> friend who wants a shirt appropriate for c. 1400 Italian fencing practice.
> Truth is, though, anyone who has knowledge of c. 1400 Italian shirts can
> give me some clues, regardless of whether they have fencing experience.
>
> --Robin
>
>
> _______________________________________________
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Subject: [h-cost] Houppelande construction (was: Fulling wool)
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Date: Sun, 12 Jan 2003 14:17:19 -0600 (CST)
Status: RO


On Thu, 9 Jan 2003, Stevie Gamble wrote:

<regarding houppelands>
> I've done some experimenting with the cloths and some types of fur,
> and I aim to test the finished article against the portraits, some of
> which we have discussed recently. If you have any recommendations as
> to construction I should be most interested.

One of the problems with a term like "houppeland" is that it encompasses a
fairly large set of variants. Because we use a single term for it, people
tend to want to zero in on a single construction method as The One Way.
I've identified a handful of approaches to the body construction, each of
which creates a slightly different look, and many more variants for
collars and sleeves.

While there's probably no one right way, there are certainly some wrong
ways ;-) I cannot think of any instance that calls for a waist seam, for
example. I am inclined to cut the body in four panels plus gores (or else
selvedge-to-selvedge panel additions), or possibly a front and back panel
(again plus gores or parallel extensions). I would not use narrow fabric.
High-quality fabric was available in fairly wide widths at this time, and
the wealthy people who were wearing the houppelande would be using
high-quality fabric. I'd figure about a meter wide as a fair norm I've run
into in various places from this period, but that guess can be trumped by
specific documentary evidence for your target locale.

So you'll want to nail down which variant/look you're aiming to emulate.
You've got your start by identifying some images to work from; next you
need to ensure your set of images is from the same time/place slice (so
you can consider combining elements across images, with care), and even
then they may represent different construction methods.

One of the important things to look at with houppelandes is the direction
of the folds of the cloth. Do the folds fall from the shoulder level or
from some point lower down? Do they point to the neck, shoulder point, or
underarm? Are they parallel, or do they radiate or converge? With what
speed and to what degree do the folds increase in depth? Each of these
looks indicates a slightly different cutting method. I find it's easiest
to choose a particular look and derive the construction by draping mockup
fabric on a live body. There are a handful of tricks I play with: for some
effects, you can make the shoulder seam slightly concave or dish-shaped
(to create folds that radiate from the shoulder); in some cases you want
to tilt the armhole so the bottom is much further out on the flat cloth
than it will be on the body (this throws more fabric to the center);
sometimes you want to curve the armhole into a J or a U shape (which
creates the fold patterns that seem to radiate from the center front of
the belt like a V; for a "sunburst" shape, combine this with the
concave-cut shoulder seam).

Most have center front openings, which may be short or longer, buttoned or
laced or invisible, closed up or slightly open. I could spend a day
writing up variations in sleeves and collars, so forgive me if I don't.

Absolutely vital in all constructions I've used: You need a supportive
undergarment, presumably a GFD, which was the dominant basic dress of this
period. There is ample evidence that the houppelande is an outer layer
over the basic dress, not worn directly over the chemise. The purpose of
the belt over the houppelande is to contain the folds, not to support the
bust. Most really catastrophic houppelandes I've seen try to use the belt
to hold up the breasts, and the breasts droop over the belt or push down
on it. This is Bad News.

--Robin

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Subject: [h-cost] Costume-related knit shirts at SF Bay Area Nordstrom's
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Date: Sun, 12 Jan 2003 19:01:34 -0800
Status: RO

I bought three today while my husband was buying shoes.  The brand 
is Skinny Minnie.  They are arty looking women's knit shirts with 
irresistable Victorianish silkscreen printing.  They are dyed 
subdued pastel earthtone colors, sage greens and pale golds and the 
like.  Over that is silkscreening of other colors to give a mottled 
effect.  And along with that are printed, in the same colorways, the 
title pages/logos  of various Victorian magazines.  When I saw 
shirts for the _Young Ladies Journal_, I had to have one (actually 
two, in different colors).  I also bought one for _The Studio_, an 
Art Nouveau design magazine.  They also had shirts for other 
Victorian magazines, and some seed catalogs and things like that, 
and a book with a Latin title. The style is kind of an undershirt 
with three-quarter sleeves.  They run small, unless you want the 
skintight look. The price is $34.  The sales clerk said all the San 
Francisco Bay Area Nordstrom's have them.  I found them in what I 
think was a juniors section.

Fran



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Date: Sun, 12 Jan 2003 21:58:25 -0700
Status: RO

Thanks, Kate.
Are you in any of the pictures? Everyone's outfits look great!
--sue, who has to hide her hair, too (not too short, but not long
enough, either, and definitely too fine to do much with <g>)

Kate M Bunting wrote:
> 
> (Blushing) Many thanks for your kind words, Stevie!
> 
> Our secretary is supposed to be setting up a website for the group; when this materialises, I'll let everyone have the address. You can see a picture of the dancers at the event at http://www.hants.gov.uk/basdance/index3.html
> 
> To Sue who asked about my outfit - The bodice is a simplified version of the 1630s one in the V&A (see Nicole's website www.kipar.org under Costume - Surviving garments) made in a terracotta-coloured glazed cotton. The skirt is blue brocade with a small pattern. To hide my short hair I wear a semi-opaque black veil.
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Date: Sun, 12 Jan 2003 22:13:09 -0700
Status: RO

Hi!
The appropriateness of your intended embroidery technique and design to
their intended uses on a high-necked shift (I'm assuming, on the
collar?) would depend a bit on which country's style you were going
after--England? the Germanies? France? Italian peninsula?
There are some lovely, rich garments in the pictures I've seen--some of
the German/Swiss smocks are particularly interesting. I think I've even
seen a couple that use pearls as design elements, and, of course, there
are the bits in the Bostocke sampler that are done with seed pearls and
(IIRC) black seed beads.
Your design, for some reason, is really reminding me of something from
Arnold's PoF (1560-1620)...I think there are some pictures of skirt
guards using embroidered flowers.
Good luck with your project!
--sue

Tania Gruning wrote:
> 
> I was wondering if a heraldic rose, satinstitched. in gold pink and
> cream, with a pearl center would be period on a 16'th century smock.
> The smock is high necked. and the I will use the double dogwood rose
> design like the one of the tudor rose. It will be in a single design
> colour. I have already tried the design out on a piece of linen and I
> like it, but as far as I can see most smocks were decorated with
> blackwork embroidery.
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Date: Mon, 13 Jan 2003 09:14:54 +0000
Status: RO

Drea wrote:

Kate Bunting
Library, University of Derby

>>> drea@nospam 01/10/03 09:30pm >>>
Is the "aigrette" related to the "egret" ?

Yes, I think the bird (a type of heron) is "egret" and the tuft of its feathers used as decoration is the "aigrette". It wasn't the only bird put on the endangered list by Edwardian fashions.




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Date: Mon, 13 Jan 2003 08:39:21 +0000 (GMT)
Status: RO

Is it me or was the list entirely dead yesterday?  Either that or I am missing some digests.  The
last one I received was no 1695.  Anyone else has this problem?

Rachel

=====
Rachel

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

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Subject: [h-cost] eyestrain -> nearsightedness -> blindness?
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Date: Mon, 13 Jan 2003 04:13:56 -0800
Status: RO

Somebody explain to me this:  If eyestrain does not cause nearsightedness, 
how come young lacemakers went blind from making lace too long in bad 
light, and how come certain stitches were called 'forbidden stitch' in 
China for allegedly making the embroiderers go blind?  Or are these two 
urban legends?

Kayta

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From: Katy Bishop <vintage@shore.net>
To: historic costume <h-costume@indra.com>
Subject: Re: [h-cost] Any advice on c.1800 patterns/underpinnings? (fwd)
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Date: Mon, 13 Jan 2003 09:42:04 -0500 (EST)
Status: RO



For the accessories to go with c. 1800 dresses, you can get patterns for
the mitts, stockings, chemise, mob cap and bonnet from Kannik's Korner:

http://www.kannikskorner.com/pataccess.htm

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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Subject: Re: [h-cost] just ... wow.
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Date: Mon, 13 Jan 2003 08:06:15 -0800
Status: RO

At 03:35 PM 01/11/2003 -0600, Sheryl Nance-Durst wrote:
>They want $3000 for that!?!
>That picture is a scan from the cover of a commercial pattern!

This is the same seller we discussed a few months ago, who was selling an
"Authentic Renaissance Wedding Dress" which she also caimed was made for
the grandmother of the person she bought it from.  She's had numerous other
auctions with equally false claims.  She's a crook, plain and simple.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From h-costume-admin@indra.com  Mon Jan 13 13:17:25 2003
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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Date: Mon, 13 Jan 2003 08:26:45 -0800 (PST)
Status: RO

Ok, it's not historic costume, but costume related.
:-)

I worked this past weekend as Security Top Watch for
Rustycon (Bellevue, WA).  One of my stipulations was
that if I worked for them, I would be allowed to work
in costume (previous directors had issues with this).

I've been going to Northwest Cons for about 15 years
now, and never been noticed by the Hall costume folks,
although many other areas do so regularly.

For the Masked Ball, I was working, which apparently
annoyed the judges and actual participants.  One
participant presented me with her panelist ribbon as
an impromptu costume award.  One of the judges awarded
me official hall costume awards for two of the
costumes, and on Sunday, it was announced that the
Judge's Choice award went to someone not actually
entered, because she had been too serious about her
duty as a Security officer, and I was pinned.

*twitch*  

Angharat
who is still stunned, and laughing, because the head
judge was so annoyed at me for not entering. (comment
not repeated, but it was funny)



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Date: Mon, 13 Jan 2003 12:29:59 -0500
Status: RO

I like when those kinds of discussions happen on the list - teaches me a
little about what to look for and what not to do or to buy!

Of course, this time I did know it was a Simplicity pattern, but I couldn't
have been certain which period it was supposed to be....

So yes it might be good to email the eBay seller (though I doubt it will
change anything), but I also like hearing the opinion of some of you here
who know more about that period than I do!

From: "N Kipar" <nicolas_fouquet@yahoo.com>


> Wouldn't it be better/more productive to email the person with the
apparently
> offending eBay auction instead of ranting here?
>
> Just a thought, don't stone/flail me. ;-)
>
> Nicole
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Subject: [h-cost] hat feathers
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Date: Mon, 13 Jan 2003 12:19:37 -0600
Status: RO

My dictionary says an 
Egret is a white heron
And an
Aigrette is the tail feathers of such a bird, made into an ornament.

BTW, did you know that the Audobon Society was started by two women who
were appalled by how many birds were being killed to decorate hats
earlier in the 20th Century?

Kim

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Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Mon, 13 Jan 2003 12:36:50 -0600 (CST)
Status: RO


On Sat, 11 Jan 2003, leigh tartaglio wrote:

> Certainly, the shirt in this case is not meant or intended as any sort
> of protection against injury, so any consideration that it is or
> should be is out of the range of this group's mandate.

Exactly. Thanks for stating so clearly.

> As to construction, Robin, something in a natural fabric made on
> similar lines to the St. Louis shirt pictured in "Cut my Cote", minus
> the crossed-over collar reenforcement, should be fine.

That was my first suggestion to him, but this shirt is French and more
than a century earlier than what we're aiming for. It was body linen,
never meant to be seen. Here's where the Italian issue comes in, since my
understanding is that the Italian men were showing their shirts by 1400,
and very likely using a more elaborate construction and styling.

If I don't come up with anything solid as an Italian variant, my fallback
will be exactly what you describe:

> Plain rectangular cuts with underarm gussets, cut comfortably but not
> too fully, should suffice.

...the generic medieval European shirt, but alas, not specifically Italian
1409.

> Some of the work on this period in clothing would be covered by both
> La Belle Companie here in the US (I think the URL is the same as the
> name of the group)

La Belle Compagnie, for those who are interested in seeing a really fine
living history depiction of late 14th c. England, is at
<http://www.labelle.org/>. I go back with the founders since before they
created the group (through my husband, who goes back even further with
them) and we have worked together often, on costume and other matters. I
persuaded them to come out to lecture at Kalamazoo a couple of years ago
and am pleased to say two of their members will be speaking for us again
this spring, on practical considerations of pourpoints/gambesons for
wearing under armor.

Still, not any specific help for Italian there. England and France I'm
fine on.

--Robin

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Subject: [h-cost] costume lecture re-scheduled
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Date: Mon, 13 Jan 2003 13:30:41 EST
Status: RO


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Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been 
re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale House 
Museum, 4811 Riverdale Road, Riverdale Park MD.  Dr. Gau is the co-author of 
"Uplift: the Bra in America," and will also be signing copies of her book.  
Cost of the lecture is $5.00.
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">Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale House Museum, 4811 Riverdale Road, Riverdale Park MD.&nbsp; Dr. Gau is the co-author of "Uplift: the Bra in America," and will also be signing copies of her book.&nbsp; Cost of the lecture is $5.00.<BR>
For more information call 301-864-0420.<BR>
Ann Wass<BR>
</FONT></HTML>
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From: kris <ionization@shaw.ca>
Subject: Re: [h-cost] sack dress
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Date: Mon, 13 Jan 2003 10:31:37 -0800
Status: RO

At 11:06 PM 12/01/2003 +0100, Bjarne wrote:
>Hi!
>If you would like to look over my shoulder and follow my work in making a
>sack dress, you can have a look here:
>www.my-drewscostumes.dk/sack_dress_1770.htm

Wow! That's absolutely incredible! Now I may have to add such a dress to my 
project list :]

kris 

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] just ... wow.
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Date: Mon, 13 Jan 2003 18:37:23 +0000 (GMT)
Status: RO

 --- Osmondia@aol.com wrote: > I just finished filling out a report form to
have ebay look into this.  I did
> 
> this because they are violating many ebay policies.  They are not showing the
> 
> item they are selling.  On Ebay you have to sell an item ... not an item to 
> be made.  That is a big no-no,
> 
> See what Ebay's opinion of their new disclaimer will be.

Well.... 
*getting ready to get stick for saying it but says it anyway*
... isn't that a bit mean, to report people? Okay so the dress won't be the
period that it claims it is, but is that a crime, and most of all, is it your
concern or anyone else's for that matter other than mentioning it to the
seller? 

Okay, I just never agreed with reporting someone to the authorities. 

Still, it has nothing at all with the topic of historical costumes to do
anymore, so I shall let it be and am of the opinion that others should let it
rest too.

Nicole - never afraid to voice her opinion *shrugs*

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Email: nicole@kipar.org

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Subject: Re: [h-cost] Stunned (semi-OT)
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Date: Mon, 13 Jan 2003 18:46:22 +0000 (GMT)
Status: RO

 --- Angharad ver' Reynulf <dragonwolfcat@yahoo.com> wrote: > 
 
> Angharat
> who is still stunned, and laughing, because the head
> judge was so annoyed at me for not entering. (comment
> not repeated, but it was funny)

PHOTOS! PHOTOS! PHOTOS! Or at least descriptions of the costumes, phuleeze!

Nicole

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] eyestrain -> nearsightedness -> blindness?
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Date: Mon, 13 Jan 2003 13:03:25 -0600 (CST)
Status: RO


On Mon, 13 Jan 2003, Carolyn Kayta Barrows wrote:

> Somebody explain to me this:  If eyestrain does not cause
> nearsightedness, how come young lacemakers went blind from making lace
> too long in bad light, and how come certain stitches were called
> 'forbidden stitch' in China for allegedly making the embroiderers go
> blind?  Or are these two urban legends?

I wouldn't put a lot of faith in the stories. They used to say that
masturbation will make you blind, too.

Some proportion of any population will develop eye problems that can lead
to blindness -- macular degeneration, cataracts, glaucoma. Presumably any
embroiderers who developed eye problems would blame them on the close
work. Close work in low light certainly give you headaches, so it's
reasonable to worry that it's damaging you permanently. I don't know that
doing this over long periods (e.g. daily for years) might not cause some
permanent problem, but it doesn't cause nearsightedness.

Plus, nearly all needleworkers would develop presbyopia in midlife, and it
was probably blamed on the embroidery ... as would be the case for other
people who did close work. If you're, say, an illiterate farmer or soldier
and don't do needlework, writing, or other close work, the problems
wouldn't interfere with your work and might go unnoticed. So craftsmen and
clerks who did close work would be the most likely to notice normal
eyesight deterioration ... which would be blamed on their profession.

On the other hand, other types of craft work carried hazards that were
recognized at the time but not understood. Russian icon painters had a
reputation for going mad, and it was blamed on the religious intensity of
making holy paintings. After a certain number of years of work, they were
too out of their minds to continue and were cared for in special
communities, with honor for having given their lives to glorify God.
Later, scholars examined the special paint recipes required for the icon
painting, and found mercury, lead, cadmium ... Later, of course, it was
hatters, who could not attribute their madness to religious ecstasy.

Perhaps the "forbidden stitches" involved some chemical process or dye
that, in constant daily contact by professional needleworkers, worked
bodily damage. That would be a good research avenue for a scientist ;-)

--Robin, just speculating

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From: Elizabeth Young <lizyoung@fenris.net>
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Subject: Re: [h-cost] Pluderhose
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Date: Mon, 13 Jan 2003 10:56:53 -0800
Status: RO

Rebecca Anderson wrote:

> Hello.
>  
> Im making pluderhose for my brother using Janet Arnolds Patterns of 
> Fashion as my guide.
> As yet Ive had no problems with how they are to be constructed. What I 
> would like to know is has anyone had any experiance in making them?? 
> Any tips and tricks, especially for the shaped backside. They are a 
> facinating garment and I cant wait to see how they turnout! 
>  

I've made them. They weren't too bad. A mockup, even in fabric that is 
not the right weight will help you understand how the backside works. I 
used old bedsheets in obnoxious colors/patterns to make a trial version. 
The better the back-side fits, the more comfortable the pluderhose will be.

Liz


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Subject: Re: [h-cost] Pluderhose
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Date: Mon, 13 Jan 2003 13:04:09 -0600
Status: RO

Hello! Another Rebecca here - I too am making a pair of pluderhosen from
Janet Arnold for my brother. (the Nils Sture pair). So far, so good. There
is a bit of puzzle-piecing to do here and there. Also, depending on what
your fabrics are, there is a lot of hand-stitching. At least for me. I have
a linen/cotton as the base, the "poofs" are lightweight silk, the panes are
velvet lined with the same linen/cotton and have thin strips of trim framing
them, and I have small leather strips at the tops of the panes for the
looped part to make them stick out better. I have found that when all those
multiple layers meet at the waist, there is *no way* it will fit under the
presser foot of my machine!

However, I am stuck on just how the rear gets done/covered. I've got the
silk for the "poofs" attached at the waist and have put them together at the
bottom of the legs - that seems to be OK. I also sewed the silk down across
the rear so it wasn't just flopping around. It looks like there are velvet
"butt pads" that go over the edges of the silk back there. My problem is,
the strip of fabric that goes between the "butt pads" ~ I can't figure out
what covers that! My base of linen/cotton is still showing through there.
Anyone have hints or tips about that?

I am currently working on said waistband and hope to move to the bottom of
the legs soon. After that I will have to attack the rear and figure that
out, and then finish off with the codpiece and lacing holes. And my brother
is going to be here in two weeks! Arrggh!!!

So, send me an email if you get stuck somewhere and I might be able to help
~ then again, I might just be wrong too! This is the first time I've tried
making something from complete scratch like this without a "real" pattern".
(You know, the types that say "now sew piece A to piece B at the
shoulders...")  :-)

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

There's no such thing as too many books!

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


----- Original Message -----
From: "Rebecca Anderson" <lady_adele@hotmail.com>
To: <h-costume@net.indra.com>
Sent: Sunday, January 12, 2003 9:16 AM
Subject: [h-cost] Pluderhose


> Hello.
>
> Im making pluderhose for my brother using Janet Arnolds Patterns of
Fashion as my guide.
> As yet Ive had no problems with how they are to be constructed. What I
would like to know is has anyone had any experiance in making them?? Any
tips and tricks, especially for the shaped backside. They are a facinating
garment and I cant wait to see how they turnout!
>
> Rebecca
>
>
> --------------------------------------------------------------------------
------
> get 2 months FREE* _______________________________________________
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>

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From h-costume-admin@indra.com  Mon Jan 13 14:20:39 2003
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Subject: Re: [h-cost] Costume-related knit shirts at SF Bay Area Nordstrom's
To: h-costume@indra.com
In-Reply-To: <no.id> from "Lavolta Press" at Jan 12, 2003 07:01:34 PM
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Date: Mon, 13 Jan 2003 11:14:40 -0800 (PST)
Status: RO

doesn't look like they have the ones fran got, but here are some
examples of their shirts:

http://www.bennettsclothing.com/skinny_minnie.htm


> 
> I bought three today while my husband was buying shoes.  The brand 
> is Skinny Minnie.  They are arty looking women's knit shirts with 
> irresistable Victorianish silkscreen printing.  They are dyed 
> subdued pastel earthtone colors, sage greens and pale golds and the 
> like.  Over that is silkscreening of other colors to give a mottled 
> effect.  And along with that are printed, in the same colorways, the 
> title pages/logos  of various Victorian magazines.  When I saw 
> shirts for the _Young Ladies Journal_, I had to have one (actually 
> two, in different colors).  I also bought one for _The Studio_, an 
> Art Nouveau design magazine.  They also had shirts for other 
> Victorian magazines, and some seed catalogs and things like that, 
> and a book with a Latin title. The style is kind of an undershirt 
> with three-quarter sleeves.  They run small, unless you want the 
> skintight look. The price is $34.  The sales clerk said all the San 
> Francisco Bay Area Nordstrom's have them.  I found them in what I 
> think was a juniors section.
> 
> Fran
> 
> 
> 
> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.lavoltapress.com
> Historic and vintage dance
> http://www.lavoltapress.com/dance
> 
> _______________________________________________
> h-costume mailing list
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> 

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Subject: RE: [h-cost] just ... wow.
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Date: Mon, 13 Jan 2003 13:24:31 -0600
Status: RO

yah, and they want to have a zipper...
gack! urk! (thud)

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Catherine Olanich Raymond
Sent: Saturday, January 11, 2003 5:12 PM
To: h-costume@indra.com
Subject: Re: [h-cost] just ... wow.


On Saturday 11 January 2003 05:18 pm, Robin Netherton wrote:

[text cut here]
>
> Sounds like they're aiming for the bridal/evening/fancy-dress/revival
> market, not for anyone who actually knows anything about historically made
> clothing or wants an authentic reproduction.

You can say that again.  To me, the picture looks more like a bad imitation
of
an 1880s style than anything else.  18th Century, my eye!
--
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Mon, 13 Jan 2003 14:33:07 -0500
Status: RO

        As always, this is a work of art.  When the picture starts to
scroll down on my monitor I get this lush violet and blue iridescent wave
of color.  The amount of work you put into a "costume" is an
inspiration!!!!  Thank you for being you and sharing your fabulous
creations with us.

Lalah
Never give up, Never surrender
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Date: Mon, 13 Jan 2003 14:23:33 -0500
Status: RO

        I suspect that Simplicity will have a say in the matter too. 
They usually have a notice on their patterns saying that they are for
personal use only.  Using the picture from their package and then
offering to sell it is not exactly for personal use.  However, as the
person doing this isn't on the list it is rather a waste of time and band
space to continue this discussion.  Sorry, just had to put my two cents
in.

Lalah
Never give up, Never surrender
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Date: Mon, 13 Jan 2003 14:17:20 -0500
Status: RO

        Bravo!  It is great that someone who was working was actually
noticed and honored.  Any pics?

Lalah
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Subject: Re: [h-cost] eyestrain -> nearsightedness -> blindness?
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Date: Mon, 13 Jan 2003 14:27:51 -0500
Status: RO

        Great speculations Robin.  Makes a lot of sense actually.

Lalah
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Stunned (semi-OT)
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Date: Mon, 13 Jan 2003 11:52:25 -0800 (PST)
Status: RO


> 
> PHOTOS! PHOTOS! PHOTOS! Or at least descriptions of
> the costumes, phuleeze!
> 
> Nicole


Nicole,

I just sent you the two shots I have of the Judge's
Choice award set that were taken by our hotel
roommate.

Description for everyone else:

His:  Red sheer shirt basic mandarin collar style, no
ornamentation other than silver feather stitching ont
he collar and cuffs, simple red/gold square buttons,
black silk pants, boots.  Vest: Black bamboo velvet,
lined.  handmade silver piping on all edges.  red lion
trim from cheeptrims.com edged by silver cord about
one inch from the piping.  open sides, with a single
frog closure at the waist on front and sides.  The
back, which unfortunately wasn't shown in the picture,
has a red brocade oval with a 1/4" silver band around
it with a silver wolf's head looking straight out
appliqued in lame' with red oval 'gems' for eyes.

Mine:  Same red sheer (it was a bargain find at
Joanns--.44/yard I had 20 yards of it) All but the 2
and a bit yards for his shirt were placed into the
gown.  It has a 20 yard hem with the gores.  Double
puffed sleeves with angel wings from the elbow down. 
All seams are covered over with silver cording couched
down over them.  Edges of sleeves, neckline, the
button area in front and the hem have red satin
ribbon, with more silver cord.  Red brocade
undersleeves (same as the background for the wolf on
the vest) My vest looks the same, but has been beaded
with small red seed beads over the entirety of the
vest.

The outfits were designed on a dare, and used only
stuff from my hoard.  I did run out of silver cord
while working on the gown, but was able to fit it so
that it looked deliberate. This one is in
red/black/silver.  The outfits being made for this
year's will be black, blue and purple, with white
accents.

He and I wear face paint with the outfits:
Him:  browned skin: flame/bat shape around the eyes
outlined in black and filled in with copper; black
lips. This weekend, I also had him wearing red, black
tipped horns.

Mine: opalescent pale skin, metallic effect around
eyes: usually a stained glass butterfly, this weekend
in a three coloured flame butterfly (gold,
blue/copper) and odd purplish/red lips.  My horns this
weekend were short black spirals.  I'm also wearing
"wolf eye" contacts.

Angharat



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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Costume Con 23 (Provo?)
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Date: Mon, 13 Jan 2003 12:22:40 -0800 (PST)
Status: RO


Pierre & Sandy,
Atlanta and Chicago are too far away for me right now,
but Provo, and then possibly San Jose sound d0-able.

Is there a specific listing for where in Provo the con
is?  (Might be able to stay with friends or my mom if
it's close enough!)

Angharad,

who is dancing... I FINALLY own my own copy of _The
Costume Maker's Art_  (early birthday prezzie!)

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Subject: Re: [h-cost] Costume-related knit shirts at SF Bay Area Nordstrom's
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Date: Mon, 13 Jan 2003 12:29:30 -0800
Status: RO

I bought "The Studio" shirt at Nordstrom's, though for less money. 
The shirts look better (more subtle) in reality than on that site 
BTW.  As for size--I'm a petite with a 33" bust.  I bought two 
larges and one medium (and I hope the medium doesn't shrink).  It's 
the first time in my life I've ever bought a T-shirt in any size but 
petite or small. Their mediums, even, are kind of tight on me, 
though not obscene. As for their smalls, I could barely get them on 
or move my arms when I did--the smalls really cut me under the arms.

But the shirts are really pretty and I could not resist a Victorian 
fashion magazine theme.  The knits seem like pretty good quality fabric.

Fran

Heather Meadows wrote:
> doesn't look like they have the ones fran got, but here are some
> examples of their shirts:
> 
> http://www.bennettsclothing.com/skinny_minnie.htm
> 
> 
> 
>>I bought three today while my husband was buying shoes.  The brand 
>>is Skinny Minnie.  
---------------------------------------------
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Subject: RE: [h-cost] Help with French translation on fabric-Picture
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This is a multi-part message in MIME format.

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http://www.saragrace.net/images/Frenchwords.jpg
 
Jean, here is a picture.  Thank you for helping!
 
SG

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<body lang=3DEN-US link=3Dblue vlink=3Dpurple =
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<div class=3DSection1>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.saragrace.net/images/Frenchwords.jpg">http://www.sarag=
race.net/images/Frenchwords.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Jean,
here is a picture.<span style=3D'mso-spacerun:yes'>&nbsp; </span>Thank =
you for
helping!<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'>SG<o:p></o:p></span></font></p>

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Subject: [h-cost] Late Middle Ages  'companies'
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Date: Mon, 13 Jan 2003 20:45:12 -0000
Status: RO

Hi all,

It's a real shame that the two companies,

La Belle Compagnie, (around 1380 onwards) at

http://www.labelle.org/

and the Companie of Saynt George (around 1460-1480) at

http://www.companie-of-st-george.ch/index_1.phtml

should have put so much work into their costumes, whilst remaining
immediately distinguishable from the way that people actually dressed
in these periods. Every person in these companies would have worn fur
in some size, shape or form, and yet the only reference in the Saint
George site plates is to an armed messenger wearing a furlined gown.
There is no reference to fur in clothing at all that I can find in the
site for La Belle Compaigne. I'm not sure why this is, whether people
simply don't know, or do know but choose to ignore it on grounds of
morality, but it does spoil otherwise excellent presentations.

best wishes
Stevie

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From h-costume-admin@indra.com  Mon Jan 13 15:51:11 2003
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Pluderhose
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Date: Mon, 13 Jan 2003 12:33:34 -0800
Status: RO


>Im making pluderhose for my brother using Janet Arnolds Patterns of 
>Fashion as my guide.
>As yet Ive had no problems with how they are to be constructed. What I 
>would like to know is has anyone had any experiance in making them?? Any 
>tips and tricks, especially for the shaped backside. They are a facinating 
>garment and I cant wait to see how they turnout!

I have made three different pairs, three different ways including the Janet 
Arnold way.  If you want to make sure the backside fits indecently tight, 
make sure the crotch/'fall' is cut higher than usual.

Kayta

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Subject: [h-cost] Re: Was Costume Con 23 (Provo?) Now Cotume Maker's Art
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Date: Mon, 13 Jan 2003 12:58:00 -0800 (PST)
Status: RO

Angharad, where did you get a copy of _The
Costume Maker's Art_?  I've been looking and looking. 
Kay

Date: Mon, 13 Jan 2003 12:22:40 -0800 (PST)
From: "Angharad ver' Reynulf" 
<dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Costume Con 23 (Provo?)
To: h-costume@indra.com

Pierre & Sandy,
Atlanta and Chicago are too far away for me right now,
but Provo, and then possibly San Jose sound d0-able.

Is there a specific listing for where in Provo the con
is?  (Might be able to stay with friends or my mom if
it's close enough!)

Angharad,

who is dancing... I FINALLY own my own copy of _The
Costume Maker's Art_  (early birthday prezzie!)

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Subject: Re: [h-cost] Costume Con 23 (Provo?)
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Date: Mon, 13 Jan 2003 12:46:10 -0800
Status: RO


>Angharad,
>
>who is dancing... I FINALLY own my own copy of _The
>Costume Maker's Art_  (early birthday prezzie!)

Pierre and Sandy are in there, pp. 94-95 in my copy.  I'm in there too, 
under somebody else.


Kayta

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Costume Con 23 (Provo?)
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Date: Mon, 13 Jan 2003 13:09:12 -0800 (PST)
Status: RO


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

> Pierre and Sandy are in there, pp. 94-95 in my copy.
>  I'm in there too, 
> under somebody else.
Katya,

YUP!  And Janet Wilson-Anderson, and Gary Anderson,
and AnimalX, and Jaron Hollander, Julie Zetterberg,
Deb Straub, and...ummm I think I've been circling the
edges of this genre far far too long. ( I can remember
seeing a lot of those costumes on stage)

Angharat

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Date: Mon, 13 Jan 2003 15:22:58 -0600 (CST)
Status: RO


On Mon, 13 Jan 2003, Stevie Gamble wrote:

> It's a real shame that the two companies, La Belle Compagnie, (around
> 1380 onwards) at http://www.labelle.org/ and the Companie of Saynt
> George (around 1460-1480) at
> http://www.companie-of-st-george.ch/index_1.phtml should have put so
> much work into their costumes, whilst remaining immediately
> distinguishable from the way that people actually dressed in these
> periods. Every person in these companies would have worn fur in some
> size, shape or form, and yet the only reference in the Saint George
> site plates is to an armed messenger wearing a furlined gown. There is
> no reference to fur in clothing at all that I can find in the site for
> La Belle Compaigne. I'm not sure why this is, whether people simply
> don't know, or do know but choose to ignore it on grounds of morality,
> but it does spoil otherwise excellent presentations.

I remember talking about this once, some years ago, with one of the LBC
heads, and I seem to recall that they were unhappy with the lack of fur,
but they faced some problems with using it correctly in their context.  I
don't remember what the issue was -- possibly a combination of the cost
and legality of getting the correct fur, or that they weren't comfortable
with their ability to reproduce the methods properly. They have some
rather tight restrictions on some of their costume standards that have to
do with internal distinctions among members (e.g. making sure the
commoners are visually distinguishable from the nobles for purposes of
public presentation). They also tend to be very conservative in what they
allow, and would rather opt to not add an element unless they can do it
correctly, and ideally created from the ground up if it's not commercially
available in exactly the right form. (I'm impressed that they make their
own buttons, hairpins, etc.) These decisions do lead to a few unfortunate
compromises. I don't agree with all their costume decisions for their
portrayals, but their research is top-notch, and they generally know
what's what.

The costume standards described on the site refer to entry-level costumes
for the group, which are commoner level. For all I know, the lord and lady
of the group do wear fur. It's been a while since I've seen them in gear.

I bet they'd love to hear from you, via the feedback email link on their
site, and could give a more coherent answer than I can based on a vague
recollection of a distant conversation. 

--Robin


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From h-costume-admin@indra.com  Mon Jan 13 16:51:10 2003
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From: kat@grendal.rain.com
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Date: Mon, 13 Jan 2003 13:50:55 -0800
Status: RO

Sue wrote:
> Hi, everybody.  Hope you're having a good weekend.
> I've lost the original post that asked about Italian coifs, but I
> think I've actually found a few....One of those happy accidents (I was
> looking in a needlework book for something on opus anglicanum <g>). At
> any rate, in the little book _Medieval Craftsmen: Embroiderers_, by
> Kay Staniland, there's this great fresco (title page, and page 49),
> dated about 1470, and painted by Cosimo Tura and Francesco Cossa.  It
> is called "The Triumph of Minerva."  Apparently, it's from Ferrara--at
> the Palazzo Schifanoia. 

This painting (and another from the same "series" called Triumphs of 
Venus) are also in Jaqueline Herald's Dress in Renaissance Italy. In 
fact, there is a red coif in backview (from TofVenus) on the front 
dust cover of the book.

Kat Russell
<kat@grendal.rain.com>

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Re: Was Costume Con 23 (Provo?) Now Cotume Maker's Art
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Date: Mon, 13 Jan 2003 14:04:05 -0800 (PST)
Status: RO

Kay,

To find this wonderful, but out-of-print book, I did
several searches on the bookseller's list.  

Amazon.com (US) had people waiting to have a copy come
up available.  I didn't check the other sites.

ISBN.nu wasn't much help for me on this one
unfortunately, nor was Hamiltonbooks.com.  

Half.com (i think) the one attached to eBay, had
several listings for copies, but upwards of $170 US
for them!  I think there was one for $75 US there
though.

www.abebooks.com had a listing with abyssbooks so I
was able to obtain a very good hardcover edition, for
more than the original price, sure, but under $70,
including the shipping.  

It showed up while I was at the con, so a spiff way to
end the weekend!

Angharat

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From h-costume-admin@indra.com  Mon Jan 13 17:05:18 2003
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Subject: [h-cost] Angharat's Rustycon costume (was Stunned Semi OT)
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Date: Mon, 13 Jan 2003 13:57:31 -0800 (PST)
Status: RO

Nicole has graciously uploaded the pics I sent her of
the mage costumes so that the list may see them. 

Thank you Nicole!

Angharad
 

N Kipar wrote:
In case you want to show the pix to the list, I
uploaded them here:

Face shot
http://www.kipar.org/h-costume/closeup.mages.Jonnalyhn_Nick.1.11.03.jpg
 
Full pic
http://www.kipar.org/h-costume/fullshot.mages.Jonnalyhn_Nick.1.11.03.jpg
 

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Date: Mon, 13 Jan 2003 15:29:15 -0700
Status: RO


Some spammer sent a forged message to an auto-response address *from*
an auto-response address.  The resulting ping-ping stalled the list
mail.

                                        ...eliz
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Date: Mon, 13 Jan 2003 18:38:43 EST
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--part1_75.71ae304.2b54a803_boundary
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Boy, I'd love to see it! But << expletive deleted >> AOL won't let me on your 
site. 

Perhaps someone could download the photos and friggin' e-mail 'em to me!!!

Or I'll just change servers!!!!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Boy, I'd love to see it! But &lt;&lt; expletive deleted &gt;&gt; AOL won't let me on your site. <BR>
<BR>
Perhaps someone could download the photos and friggin' e-mail 'em to me!!!<BR>
<BR>
Or I'll just change servers!!!!</FONT></HTML>

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Subject: Re: [h-cost] just ... wow.
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Date: Tue, 14 Jan 2003 10:41:59 +1100
Status: RO

>         I suspect that Simplicity will have a say in the matter too.

I have to confess I didn't actually check the pattern when I said it was
Simplicity.  It is actually Butterick.

I was thinking of contacting them too, because those of us who want to make
a living out of this sort of thing will have to design our own patterns and
do it the hard way and may have to charge more because of the extra work (I
don't know the cost of things in America, so I can't compare).  We're trying
to make a decent living doing things the right way and these are the sort of
people who cheat and make it harder for us

I also just don't like lies and deceit in general.  I'm not perfect, I do it
to sometimes too but if I get caught out on it, it's only fair.

Karen
----
www.members.optusnet.com.au/smonster/costumepage.html

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Angharat's Rustycon costume (was Stunned Semi OT)
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Date: Mon, 13 Jan 2003 15:29:48 -0700
Status: RO

Cool horns-did you make them?  How are they made and stuck on?

Sg


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Date: Mon, 13 Jan 2003 19:04:54 EST
Status: RO


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He sent me photos....

Thank you so much!

The gown is fantastic!

It's chocolate cake!

It's Adagio cantabile!

It's Mickey Mouse! [apologies to Cole Porter]

It makes me want to make one.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">He sent me photos....<BR>
<BR>
Thank you so much!<BR>
<BR>
The gown is fantastic!<BR>
<BR>
It's chocolate cake!<BR>
<BR>
It's Adagio cantabile!<BR>
<BR>
It's Mickey Mouse! [apologies to Cole Porter]<BR>
<BR>
It makes me want to make one.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT></HTML>
--part1_103.242fb1cc.2b54ae26_boundary--
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: RE: [h-cost] Angharat's Rustycon costume (was Stunned Semi OT)
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Date: Mon, 13 Jan 2003 16:17:00 -0800 (PST)
Status: RO

 Saragrace,

I didn't make these horns, they were purchased from
the Spirit Store near the Halloween time.  The red
ones have a monofilament line that tightens up
underneath the hairline in the back.  The black ones
are of foam and stuck on with Spirit gum.  

Angharat

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 14 Jan 2003 01:21:28 +0100
Status: RO

This is a multi-part message in MIME format.

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Dear Albert Cat
I have a pattern draft i can upload tomorrow. I used an original pattern =
after M. Leloir.=20
It is the first time i used a french pattern.
And it really is easy to follow it even if you could not upscale the =
pattern, you could use it as a guide.=20
The underskirt is very easy, it is just 3 fabric widths joined together, =
the center back has a seam and you make a small cut center front and =
back. Then you make some channels in the sides wich are made with a tape =
tie. Then you can gather the tape to the required meassure of your hoop =
or hip paniers. I have only used hip paniers for this.=20
The center back pleats i have made after the late fashions. When sack =
dresses were going to be unfashionable. It reveals some of the bodice =
sides and the pleats are sitting close to the center back.
I am exhausted, and i still have a lot to do. Sew all the trimmings on =
to the fabric, sew the back pleats on and then make all the hem of the =
overdress. Finally the stomacher.
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
  ----- Original Message -----=20
  From: AlbertCat@aol.com=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 14, 2003 1:04 AM
  Subject: [h-cost] Re: sack dress


  He sent me photos....

  Thank you so much!

  The gown is fantastic!

  It's chocolate cake!

  It's Adagio cantabile!

  It's Mickey Mouse! [apologies to Cole Porter]

  It makes me want to make one.


------=_NextPart_000_0025_01C2BB6B.433ED040
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 6.00.2722.900" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Dear Albert Cat</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I have a pattern draft i can upload =
tomorrow. I=20
used an original pattern after M. Leloir. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>It is the first time i used a french=20
pattern.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>And it really is easy to follow it even =
if you=20
could not upscale the pattern, you could use it as a guide. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The underskirt is very easy, it is =
just&nbsp;3=20
fabric widths joined together, the center back has a seam and you make a =
small=20
cut center front and back. Then you make some channels in the sides wich =
are=20
made with a tape tie. Then you can gather the tape to the required =
meassure of=20
your hoop or hip paniers. I have&nbsp;only used hip paniers for=20
this.</FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The center back pleats i have made =
after the late=20
fashions. When sack dresses were going to be unfashionable. It reveals =
some of=20
the bodice sides and the pleats are sitting close to the center=20
back.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I am exhausted, and i still have a lot =
to do. Sew=20
all the trimmings on to the fabric, sew the back pleats on and then make =
all the=20
hem of the overdress. Finally the stomacher.</FONT></DIV>
<DIV>Leif og Bjarne Drews<BR><A=20
href=3D"http://www.my-drewscostumes.dk">www.my-drewscostumes.dk</A></DIV>=

<DIV>&nbsp;</DIV>
<DIV><A=20
href=3D"http://home0.inet.tele.dk/drewscph/">http://home0.inet.tele.dk/dr=
ewscph/</A></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> Tuesday, January 14, 2003 =
1:04=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Re: sack =
dress</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial size=3D3 =
FAMILY=3D"SANSSERIF">He sent=20
  me photos....<BR><BR>Thank you so much!<BR><BR>The gown is=20
  fantastic!<BR><BR>It's chocolate cake!<BR><BR>It's Adagio=20
  cantabile!<BR><BR>It's Mickey Mouse! [apologies to Cole =
Porter]<BR><BR>It=20
  makes me want to make one.</FONT><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D2=20
  FAMILY=3D"SANSSERIF"><BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com, "Stevie Gamble" <stevie.gamble@btinternet.com>
Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Mon, 13 Jan 2003 19:40:44 -0500
Status: RO

On Monday 13 January 2003 03:45 pm, Stevie Gamble wrote:
[text cut here]

> There is no reference to fur in clothing at all that I can find in the
> site for La Belle Compaigne. I'm not sure why this is, whether people
> simply don't know, or do know but choose to ignore it on grounds of
> morality, but it does spoil otherwise excellent presentations.

It may be partly due to cost considerations, too....


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] sack dress
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Date: Mon, 13 Jan 2003 19:55:00 -0500
Status: RO

On Sunday 12 January 2003 05:06 pm, Bjarne og Leif Drews wrote:
> Hi!
> If you would like to look over my shoulder and follow my work in making a
> sack dress, you can have a look here:
> www.my-drewscostumes.dk/sack_dress_1770.htm
> I have ben making this dress the last 14 days, and worked very hard besides
> my full time job.
> Dont let yourself misjudge the colour of the dress. My dig.cam uses two
> high flashlight and the colour is not right.
> It is shot dupioni dark red and dark green. The closeup picture of the
> sleave shows the right colour.
> I will try to make some pictures tomorrow in daylight.
> I have finished all the pieces and sewed them together.
> Then i have to make all the decoration with gathered frills along the
> overskirt and along the bodice. And i must make a compare and decorate this
> two with gathered frills.
> A friend was in need of a dress. Her dress was torned apart when she took
> her old dress off. (It was an old second hand dress) Then she asked me for
> help.
> She is going to selebrate the birdhday of Gustav III at Svartsjø Castle in
> Sweden the 21. of january.
> Fortunately i have the day off tomorrow and the day after, so that i can
> finish the dress and send away for her in time!!!
> I have used 14 meter of silk for this dress.
> If you would like to see the society of Gustavs Skål wich is selebrating
> the birdsday of Gustav III you can have a look at this side:
> www.gustafsskal.nu They have some nice pictures i think.
>
> Many greetings
>
> Bjarne
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Mon, 13 Jan 2003 19:47:23 -0500
Status: RO

On Monday 13 January 2003 02:24 pm, Betsy Marshall wrote:
> yah, and they want to have a zipper...
> gack! urk! (thud)

<grin>  So much for the dress being "a 19th century recreation of an 18th 
century design" or whatever hogwash she put on E-Bay.  :-(

I thought she might merely be misdescribing a real Victorian-era pattern, 
until I saw the picture.  



> On Saturday 11 January 2003 05:18 pm, Robin Netherton wrote:
>
> [text cut here]
>
> > Sounds like they're aiming for the bridal/evening/fancy-dress/revival
> > market, not for anyone who actually knows anything about historically
> > made clothing or wants an authentic reproduction.
>
[Cathy Raymond wrote]

> You can say that again.  To me, the picture looks more like a bad imitation
> of
> an 1880s style than anything else.  18th Century, my eye!

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Mon, 13 Jan 2003 19:55:26 -0500
Status: RO

On Sunday 12 January 2003 05:06 pm, Bjarne og Leif Drews wrote:
> Hi!
> If you would like to look over my shoulder and follow my work in making a
> sack dress, you can have a look here:
> www.my-drewscostumes.dk/sack_dress_1770.htm

Sorry, Bjarne, I keep getting an error page at this URL.

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Mon, 13 Jan 2003 19:41:56 -0500
Status: RO


Bjarne, that is so elegant! I can't believe you can work so fast!

Please let us know when we can see pictures of the finished gown. And thanks
for the link to Gustavs Skal, it is always fun to see people dressed up. I
haven't sewed anything for myself in about two years, but I still love to
look at other people!

Gail Finke

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Date: Mon, 13 Jan 2003 18:12:58 -0700
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URL works just fine for me! Ooooh La La!  You are amazing Bjarne!!

Sg


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In a message dated 1/13/2003 7:19:39 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> I have a pattern draft i can upload tomorrow. 

I'll take it!

What size is it?

Upscaling is no problem. Metric doesn't bother me....as long as I don't have 
to convert it to inches.

Take your time....finish up what you have to do.

Later, 
Gray [Albert Cat]

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/13/2003 7:19:39 PM Eastern Standard Time, drewscph@post12.tele.dk writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I have a pattern draft i can upload tomorrow. </BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
I'll take it!<BR>
<BR>
What size is it?<BR>
<BR>
Upscaling is no problem. Metric doesn't bother me....as long as I don't have to convert it to inches.<BR>
<BR>
Take your time....finish up what you have to do.<BR>
<BR>
Later, <BR>
Gray [Albert Cat]</FONT></HTML>

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From h-costume-admin@indra.com  Mon Jan 13 20:40:27 2003
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Subject: Re: [h-cost] just ... wow.
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Date: Mon, 13 Jan 2003 17:38:00 -0800
Status: RO

Nicole Kipar wrote:
>Well....
>*getting ready to get stick for saying it but says it anyway*
>... isn't that a bit mean, to report people? Okay so the dress won't be the
>period that it claims it is, but is that a crime, and most of all, is it your
>concern or anyone else's for that matter other than mentioning it to the
>seller?
>
>Okay, I just never agreed with reporting someone to the authorities.

I might think it was petty to report someone for an auction that was 
only a couple dollars (depending on what they're selling). But this 
"vendor" was asking for over three thousand dollars...

One of Bjarne's marvelous creations would well be worth that, but not 
a poorly designed dress from a commercial pattern made by someone 
whose skills you don't know.

Some folks might think anyone dumb enough to bid on this auction 
would get what they deserved. But some people really don't know about 
sewing and costume history and wouldn't realize they were getting 
cheated big time.

I think that in this case reporting them was the right thing.

Just my opinion,

Anahita
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From h-costume-admin@indra.com  Mon Jan 13 21:41:34 2003
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Subject: [h-cost] Skiing in skirts
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Date: Mon, 13 Jan 2003 19:27:04 +0000
Status: RO

A couple of friends and I are considering doing some skiing in retro 
fashion, wearing skirts, for a lark.  I fancy a mid-calf wool skirt with 
stretch side panels, and vest to match.  But what about the fabric 
for the stretch panels? 

Modern ski wear is not only expensive, but relentlessly synthetic.  
My favorite ski pants have always been the wool-blend stretch 
pants with stirrups from the 50's and 60's, the early days of the ski 
industry (here in the American West).  These pants are warm, they 
take an serious beating, and can still be found in thrift stores, 
where I buy them a bit oversized for machine washing.  I have a 
pair right now, manfactured by Mehrer of Norway, of 60% wool, 
35% nylon, and 5% Lycra.  Past searches for this kind of yardage 
have yielded nothing.  Anybody have a source?

And is there any history of women skiing in skirts?  I know of skirts 
(quilted) used as ski wear for religious reasons, but the U.S., as far 
as I can tell, has no such mainstream tradition.  Europe, perhaps?  
Skiing as recreation may simply postdate pants for women, but 
what about skiing as transportation for chores and visits?

--
Robin Hill			hillrk@lariat.org
Laramie, Wyoming

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: Was Costume Con 23 (Provo?) Now Cotume Maker's Art
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Date: Mon, 13 Jan 2003 18:53:48 -0800
Status: RO

At 12:58 PM -0800 1/13/03, Kay Shelton wrote:
>Angharad, where did you get a copy of _The
>Costume Maker's Art_?  I've been looking and looking.
>Kay

There was a second-hand copy at Moe's Books in Berkeley this afternoon.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] just ... wow.
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Date: Mon, 13 Jan 2003 19:45:02 -0800
Status: RO

Okay, maybe I'm a bit older than a number of people commenting, but did
anyone ever consider there could be a range of possibilities for such
postings?  A Psych 101 exercise, a Penn and Teller Joke, a revamp of the
defunct SPY magazine?

Lisa - The one who diverted her phone to the child support agency when she
knew her ex was expected to call. :)


----- Original Message -----
From: <lilinah@earthlink.net>
To: <h-costume@indra.com>
Sent: Monday, January 13, 2003 5:38 PM
Subject: Re: [h-cost] just ... wow.


> Nicole Kipar wrote:
> >Well....
> >*getting ready to get stick for saying it but says it anyway*
> >... isn't that a bit mean, to report people? Okay so the dress won't be
the
> >period that it claims it is, but is that a crime, and most of all, is it
your
> >concern or anyone else's for that matter other than mentioning it to the
> >seller?
> >
> >Okay, I just never agreed with reporting someone to the authorities.
>
> I might think it was petty to report someone for an auction that was
> only a couple dollars (depending on what they're selling). But this
> "vendor" was asking for over three thousand dollars...
>
> One of Bjarne's marvelous creations would well be worth that, but not
> a poorly designed dress from a commercial pattern made by someone
> whose skills you don't know.
>
> Some folks might think anyone dumb enough to bid on this auction
> would get what they deserved. But some people really don't know about
> sewing and costume history and wouldn't realize they were getting
> cheated big time.
>
> I think that in this case reporting them was the right thing.
>
> Just my opinion,
>
> Anahita
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-admin@indra.com  Mon Jan 13 22:50:36 2003
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Date: Mon, 13 Jan 2003 20:52:34 -0700
Status: RO

I'm not on digest, and I didn't get diddly all weekend.  All of my lists
were like that (what I got was very, very spotty), so I figured it was
my ISP misbehaving again....
Must just be internet gremlins <g>.
--sue

Rachel wrote:
> 
> Is it me or was the list entirely dead yesterday?  Either that or I am missing some digests.  The
> last one I received was no 1695.  Anyone else has this problem?
> 
> Rachel
>
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From h-costume-admin@indra.com  Mon Jan 13 23:10:29 2003
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Subject: Re: [h-cost] sack dress
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Date: Tue, 14 Jan 2003 15:11:49 +1100 (EST)
Status: RO

Bjarne you are an inspiration! I'm in the SCA, doing
16th century Venetian, and trying *desperately* not to
fall in love with other time periods. But failing,
thanks in a big way to you! :)

I know you patterned this dress yourself, but (anyone)
is there a good pattern out there for something
similar? Just in case I win the lottery or something,
you understand.... :)


Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: Re: [h-cost] Skiing in skirts
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Date: Mon, 13 Jan 2003 21:06:39 -0800
Status: RO


>
>And is there any history of women skiing in skirts?  I know of skirts 
>(quilted) used as ski wear for religious reasons, but the U.S., as far 
>as I can tell, has no such mainstream tradition.  Europe, perhaps?  
>Skiing as recreation may simply postdate pants for women, but 
>what about skiing as transportation for chores and visits?


The 1938 Vogue Book of Etiquette has a whole section on how to dress,
including for sporting.  As I recall, it says that usually trousers are
worn for skiing, but that some expert wopman skiers wear a cable knitted
sweater and matching stockings, with a short wool skirt, as they do in
Europe.  

My sister has our family copy of the book, and she's on vacation right now,
but if you need a precise quote remind me in about a week and I'll have her
look it up. 

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Mon, 13 Jan 2003 21:06:39 -0800
Status: RO


>
>And is there any history of women skiing in skirts?  I know of skirts 
>(quilted) used as ski wear for religious reasons, but the U.S., as far 
>as I can tell, has no such mainstream tradition.  Europe, perhaps?  
>Skiing as recreation may simply postdate pants for women, but 
>what about skiing as transportation for chores and visits?


The 1938 Vogue Book of Etiquette has a whole section on how to dress,
including for sporting.  As I recall, it says that usually trousers are
worn for skiing, but that some expert wopman skiers wear a cable knitted
sweater and matching stockings, with a short wool skirt, as they do in
Europe.  

My sister has our family copy of the book, and she's on vacation right now,
but if you need a precise quote remind me in about a week and I'll have her
look it up. 

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Mon, 13 Jan 2003 21:02:39 -0800
Status: RO

Yes, many animals have suffered due to fashion, but the egret was the poster child.  Ever notice the symbol for the audobon society?  Its an egret.  The society was formed in the 1880's in
reaction to the millions of birds that were slaughtered just for a few feathers for hats.  These feathers were highly prized and could get a high price on the market.  I once found a breeding
plumage feather of an egret while hiking near a rookery.  The breeding plumage of the egret has long wispy white feathers that are absolutely gorgeous (obviously the girl birds think so too)
Karolee

Kate M Bunting wrote:

> Drea wrote:
>
> Kate Bunting
> Library, University of Derby
>
> >>> drea@nospam 01/10/03 09:30pm >>>
> Is the "aigrette" related to the "egret" ?
>
> Yes, I think the bird (a type of heron) is "egret" and the tuft of its feathers used as decoration is the "aigrette". It wasn't the only bird put on the endangered list by Edwardian fashions.
>
> _______________________________________________
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Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Mon, 13 Jan 2003 21:37:53 -0800
Status: RO

Robin, there is a frecsco by Benozzo Gozzoli in Davenport's the book of
costume on page 277 of an italian men's shirt 1468-85, image 754 which would
be suitable for a fencing shirt.

Lisa



----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Monday, January 13, 2003 10:36 AM
Subject: Re: [h-cost] early 1400s Italian shirt questions


>
> On Sat, 11 Jan 2003, leigh tartaglio wrote:
>
> > Certainly, the shirt in this case is not meant or intended as any sort
> > of protection against injury, so any consideration that it is or
> > should be is out of the range of this group's mandate.
>
> Exactly. Thanks for stating so clearly.
>
> > As to construction, Robin, something in a natural fabric made on
> > similar lines to the St. Louis shirt pictured in "Cut my Cote", minus
> > the crossed-over collar reenforcement, should be fine.
>
> That was my first suggestion to him, but this shirt is French and more
> than a century earlier than what we're aiming for. It was body linen,
> never meant to be seen. Here's where the Italian issue comes in, since my
> understanding is that the Italian men were showing their shirts by 1400,
> and very likely using a more elaborate construction and styling.
>
> If I don't come up with anything solid as an Italian variant, my fallback
> will be exactly what you describe:
>
> > Plain rectangular cuts with underarm gussets, cut comfortably but not
> > too fully, should suffice.
>
> ...the generic medieval European shirt, but alas, not specifically Italian
> 1409.
>
> > Some of the work on this period in clothing would be covered by both
> > La Belle Companie here in the US (I think the URL is the same as the
> > name of the group)
>
> La Belle Compagnie, for those who are interested in seeing a really fine
> living history depiction of late 14th c. England, is at
> <http://www.labelle.org/>. I go back with the founders since before they
> created the group (through my husband, who goes back even further with
> them) and we have worked together often, on costume and other matters. I
> persuaded them to come out to lecture at Kalamazoo a couple of years ago
> and am pleased to say two of their members will be speaking for us again
> this spring, on practical considerations of pourpoints/gambesons for
> wearing under armor.
>
> Still, not any specific help for Italian there. England and France I'm
> fine on.
>
> --Robin
>
> _______________________________________________
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Date: Mon, 13 Jan 2003 21:48:30 -0800
Status: RO

http://www.kfki.hu/~arthp/html/g/gozzoli/6late/1pisa.html also has the
fresco called The Vintage and Drunkenness of Noah by GOZZOLI, Benozzo, there
is a man in this shirt stomping grapes.  The Davenport book has a better
image.

Lisa


----- Original Message -----
From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
Sent: Monday, January 13, 2003 9:37 PM
Subject: Re: [h-cost] early 1400s Italian shirt questions


> Robin, there is a frecsco by Benozzo Gozzoli in Davenport's the book of
> costume on page 277 of an italian men's shirt 1468-85, image 754 which
would
> be suitable for a fencing shirt.
>
> Lisa
>
>
>
> ----- Original Message -----
> From: "Robin Netherton" <robin@shell.nightowl.net>
> To: <h-costume@indra.com>
> Sent: Monday, January 13, 2003 10:36 AM
> Subject: Re: [h-cost] early 1400s Italian shirt questions
>
>
> >
> > On Sat, 11 Jan 2003, leigh tartaglio wrote:
> >
> > > Certainly, the shirt in this case is not meant or intended as any sort
> > > of protection against injury, so any consideration that it is or
> > > should be is out of the range of this group's mandate.
> >
> > Exactly. Thanks for stating so clearly.
> >
> > > As to construction, Robin, something in a natural fabric made on
> > > similar lines to the St. Louis shirt pictured in "Cut my Cote", minus
> > > the crossed-over collar reenforcement, should be fine.
> >
> > That was my first suggestion to him, but this shirt is French and more
> > than a century earlier than what we're aiming for. It was body linen,
> > never meant to be seen. Here's where the Italian issue comes in, since
my
> > understanding is that the Italian men were showing their shirts by 1400,
> > and very likely using a more elaborate construction and styling.
> >
> > If I don't come up with anything solid as an Italian variant, my
fallback
> > will be exactly what you describe:
> >
> > > Plain rectangular cuts with underarm gussets, cut comfortably but not
> > > too fully, should suffice.
> >
> > ...the generic medieval European shirt, but alas, not specifically
Italian
> > 1409.
> >
> > > Some of the work on this period in clothing would be covered by both
> > > La Belle Companie here in the US (I think the URL is the same as the
> > > name of the group)
> >
> > La Belle Compagnie, for those who are interested in seeing a really fine
> > living history depiction of late 14th c. England, is at
> > <http://www.labelle.org/>. I go back with the founders since before they
> > created the group (through my husband, who goes back even further with
> > them) and we have worked together often, on costume and other matters. I
> > persuaded them to come out to lecture at Kalamazoo a couple of years ago
> > and am pleased to say two of their members will be speaking for us again
> > this spring, on practical considerations of pourpoints/gambesons for
> > wearing under armor.
> >
> > Still, not any specific help for Italian there. England and France I'm
> > fine on.
> >
> > --Robin
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
>
>
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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] early 1400s Italian shirt questions/protection
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Date: Mon, 13 Jan 2003 22:20:05 -0800
Status: RO

             leigh tartaglio wrote:
> > >
> > > > Certainly, the shirt in this case is not meant or intended as any
sort
> > > > of protection against injury, so any consideration that it is or
> > > > should be is out of the range of this group's mandate.
> > >
            Robin wrote:

> > > Exactly. Thanks for stating so clearly.
>
I would have to disagree that considering the protective qualities of a
shirt while fencing is out of this group's mandate.  This is a historical
clothing discussion group and the qualities of clothing are what we discuss
and consider especially in the context in which they were worn.  We would
not eliminate discussing the retentive heat factor of  wool skivvies in
protecting against the cold, why should the protective nature of a shirt
during a fencing match not be considered?  A shirt  is considered to be
protection for the skin if a sword with nicks in it is run across it, that
should not be dismissed.  That it is inadequate protection against thrusts
is another quality.  Statements about observations of what other people do
are not endorsements of their safety policies it is mere discussion of how
other people perceive and use clothing.

Cheers,

Lisa


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] early 1400s Italian shirt questions/protection
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Date: Tue, 14 Jan 2003 00:49:11 -0600 (CST)
Status: RO


On Mon, 13 Jan 2003, Lisa Sinervo wrote:

Mike wrote:
> > Certainly, the shirt in this case is not meant or intended as any sort
> > of protection against injury, so any consideration that it is or
> > should be is out of the range of this group's mandate.

I replied:
> > > > Exactly. Thanks for stating so clearly.

Lisa responded:

> I would have to disagree that considering the protective qualities of
> a shirt while fencing is out of this group's mandate.  This is a
> historical clothing discussion group and the qualities of clothing are
> what we discuss and consider especially in the context in which they
> were worn. ...

I can't speak for Mike, but when I wrote my "Exactly," I was reading "this
group" to refer to my friend's fencing group, not the h-cost list. It is
correct that the fencing group in question is not using shirts for
protection, so that needn't be a factor in the discussion of my original
question.

In other words, the focus of my original question was not "what sort of
shirt would be the best to wear for fencing," but simply "what were the
dominant shirt construction techniques of 1409 Italy," and I am very happy
to have received some replies on that question. I provided the information
on the fencing group to clarify my priorities for authenticity,
durability, etc. for this project, in the same line as someone else might
specify "this is for an SCA event," or "this is for a theater production,"
or "this is for a museum exhibit."

I would agree with Lisa that in discussion of historical combat wear in
general, and also the use of clothing for other reenactments of martial
techniques in which accurate costuming is a priority, the issue of
protection would be very much on-topic, and I truly can't imagine anyone
having a problem with that. (If we got into a protracted discussion of
fencing techniques independent of clothing, that could reasonably be
considered straying. Not an issue here so far.)

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] early 1400s Italian shirt questions
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Date: Tue, 14 Jan 2003 00:50:52 -0600 (CST)
Status: RO


On Mon, 13 Jan 2003, Lisa Sinervo wrote:

> Robin, there is a frecsco by Benozzo Gozzoli in Davenport's the book of
> costume on page 277 of an italian men's shirt 1468-85, image 754 which would
> be suitable for a fencing shirt.

Thank you!


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: sack dress
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Date: Tue, 14 Jan 2003 08:18:32 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > 
> Dear Albert Cat
> I have a pattern draft i can upload tomorrow. I used an original pattern
> after M. Leloir. 
> It is the first time i used a french pattern.

It would be wonxderful if you could send the link to the list. I think I know
which pattern you used but would love to double-check. (not that I'd ever be
able to make such a dress *L*)

> I am exhausted, and i still have a lot to do. Sew all the trimmings on to the
> fabric, sew the back pleats on and then make all the hem of the overdress.
> Finally the stomacher.

Oh poor Bjarne, you always work yourself to exhaustion, don't get burnt out
again! I do hope you continue to enjoy making costumes, because this dress is
beautiful, it will be gorgeous. Looking forward to see photos with the lady in
the dress in daylight.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Tue, 14 Jan 2003 23:00:29 +1300
Status: RO

As usual exquisite work Bjarne:) Next time I'm in europe you *have* to let
me drop by;) Can't believe I was Danmark and didn't know about you at the
time:( I also missed out on seeing the Herjolfsnes finds while there too....

Will you be making the ruffles etc from the same fabric?

Can't wait to see more photos:)

> Bjarne you are an inspiration! I'm in the SCA, doing
> 16th century Venetian, and trying *desperately* not to
> fall in love with other time periods. But failing,
> thanks in a big way to you! :)

lol! I know I was the same with Nicoles mantua;) It's an era I really
couldn't get into by looking at the prints of the time, and actually being
cast in a scene from The Way of Th World from 1700. But seeing garments,one
in Blanche Payne's book, one in a Met Museum book and Nicole's it really
showed the true beauty of the style:)

> I know you patterned this dress yourself, but (anyone)
> is there a good pattern out there for something
> similar? Just in case I win the lottery or something,
> you understand.... :)

heheh, there are some patterns in books. I know Blanche Payne's first
edition had patterns and I'm sure there is at least one saque... I also
traced a few patterns from older books too.. and one book out of copyright
with diagrams rather than patterns....
And there is a diagram of a robe a la Francaise by Leloir here:
http://www.costumes.org/pages/18thpatterns.htm not a pattern though...
and more patterns:
http://www.costumes.org/pages/diderot.htm

michaela



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Date: Tue, 14 Jan 2003 11:39:52 +0100
Status: RO

Hi.
Needed a little break in sewing so i uploaded the pattern for you.
Just click on the small picture and you get a better scan.
M. Leloir took this pattern from a real garment at Muse´e du Costume, Paris.
I didnt make the pocket slit in the skirt. My fabric is two light to have
such a slit, it would spoil the look of the skirt after my oppinion.
Have fun!
Here is the URL: http://www.my-drewscostumes.dk/scan002.htm

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Skiing in skirts
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Date: Tue, 14 Jan 2003 11:41:41 +0100
Status: RO

I remember i have seen a poster once with a lady skiing in skirts. I think
the poster was from about 1910.
It was a poster from a famous skiing resort.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <hillrk@lariat.org>
To: <h-costume@net.indra.com>
Sent: Monday, January 13, 2003 8:27 PM
Subject: [h-cost] Skiing in skirts


> A couple of friends and I are considering doing some skiing in retro
> fashion, wearing skirts, for a lark.  I fancy a mid-calf wool skirt with
> stretch side panels, and vest to match.  But what about the fabric
> for the stretch panels?
>
> Modern ski wear is not only expensive, but relentlessly synthetic.
> My favorite ski pants have always been the wool-blend stretch
> pants with stirrups from the 50's and 60's, the early days of the ski
> industry (here in the American West).  These pants are warm, they
> take an serious beating, and can still be found in thrift stores,
> where I buy them a bit oversized for machine washing.  I have a
> pair right now, manfactured by Mehrer of Norway, of 60% wool,
> 35% nylon, and 5% Lycra.  Past searches for this kind of yardage
> have yielded nothing.  Anybody have a source?
>
> And is there any history of women skiing in skirts?  I know of skirts
> (quilted) used as ski wear for religious reasons, but the U.S., as far
> as I can tell, has no such mainstream tradition.  Europe, perhaps?
> Skiing as recreation may simply postdate pants for women, but
> what about skiing as transportation for chores and visits?
>
> --
> Robin Hill hillrk@lariat.org
> Laramie, Wyoming
>
> _______________________________________________
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Subject: [h-cost] Pattern by M. Leloir
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Date: Tue, 14 Jan 2003 11:46:54 +0100
Status: RO

Sorry, the better url is this:

http://www.my-drewscostumes.dk/sack_dress_1770.htm

Then you can also have a look how the real garment looks like.

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Pattern by M. Leloir
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Date: Tue, 14 Jan 2003 10:48:09 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Sorry, the better
url is this:
> 
> http://www.my-drewscostumes.dk/sack_dress_1770.htm
> 
> Then you can also have a look how the real garment looks like.

Wonderful! Thank you so much Bjarne.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Tue, 14 Jan 2003 06:45:13 -0700
Status: RO

Cool pattern! I take it that piece VIII is the underskirt/petticoat? and
that one just puts the ruffly decorations in the front, where they'll be
seen through the front opening of the overskirt?
*sigh* And the dress is bee-yootiful, although my monitor *does* show it
as hot pink and turquoise! <g>
Good luck, Bjarne, getting it done...we're all pulling for you!
--sue
p.s.  Bella, hang out on this list long enough and you *will* get
seduced to the dark side of post-16th c. costume! At least, it sure
happened that way with me....and then, there are all those yummy classes
on Penny's website <giggle>

Bjarne og Leif Drews wrote:
> 
> Hi.
> Needed a little break in sewing so i uploaded the pattern for you.
> Just click on the small picture and you get a better scan.
> M. Leloir took this pattern from a real garment at Muse´e du Costume, Paris.
> I didnt make the pocket slit in the skirt. My fabric is two light to have
> such a slit, it would spoil the look of the skirt after my oppinion.
> Have fun!
> Here is the URL: http://www.my-drewscostumes.dk/scan002.htm
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Date: Tue, 14 Jan 2003 06:54:34 -0700
Status: RO

Hi, Bella.  I don't know if you're thinking of patterns taken from
extant garments like the one Bjarne used, or something else.  But....
There's this neat lady, J.P. Ryan, who teaches some late-18th c.
clothing classes through Penny's website:
http://www.costumeclassroom.com/
The nice thing about JP's classes, at least how they're set up now, is
that they run year-round.
JP also has her own website, at which she sells her patterns.  I own two
of them (the stays, and the caraco jacket).
http://www.jpryan.com/ladiespatterns.html
Enjoy!
--Sue

Bella wrote:
> 
> Bjarne you are an inspiration! I'm in the SCA, doing
> 16th century Venetian, and trying *desperately* not to
> fall in love with other time periods. But failing,
> thanks in a big way to you! :)
> 
> I know you patterned this dress yourself, but (anyone)
> is there a good pattern out there for something
> similar? Just in case I win the lottery or something,
> you understand.... :)
> 
> Bella
> 
> http://movies.yahoo.com.au - Yahoo! Movies
> - What's on at your local cinema?
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Date: Tue, 14 Jan 2003 14:07:41 +0000
Status: RO

Samuel Pepys gave up keeping a detailed private diary after ten years because he believed he was going blind after all that time spent writing in code last thing at night. In fact he lived another 40-plus years and never did lose his sight.

Kate Bunting
Library, University of Derby


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Date: Tue, 14 Jan 2003 07:12:15 -0700
Status: RO

*snort*
Isn't that like searching for the Holy Grail??
--sue, completely tongue-in-cheek

AnnBWass@aol.com wrote:
> 
> Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been
> re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale
> House Museum, 4811 Riverdale Road, Riverdale Park MD.  Dr. Gau is the
> co-author of "Uplift: the Bra in America," and will also be signing
> copies of her book.  Cost of the lecture is $5.00.
> For more information call 301-864-0420.
> Ann Wass
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Date: Tue, 14 Jan 2003 06:19:28 -0800 (PST)
Status: RO

Thanks Angharat.  I just checked www.abebooks.com and
now Costume Maker's Art is $125.00.  I am one of the
people on the waiting list at Amazon and have been for
a couple of years now.  I guess I'll just keep
enjoying the library copy for a while longer.  Thank
you for sharing your research, anyway.  Kay


Kay,

To find this wonderful, but out-of-print book, I did
several searches on the bookseller's list.  

Amazon.com (US) had people waiting to have a copy come
up available.  I didn't check the other sites.

ISBN.nu wasn't much help for me on this one
unfortunately, nor was Hamiltonbooks.com.  

Half.com (i think) the one attached to eBay, had
several listings for copies, but upwards of $170 US
for them!  I think there was one for $75 US there
though.

www.abebooks.com had a listing with abyssbooks so I
was able to obtain a very good hardcover edition, for
more than the original price, sure, but under $70,
including the shipping.  

It showed up while I was at the con, so a spiff way to
end the weekend!

Angharat



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Date: Tue, 14 Jan 2003 14:31:22 +0000
Status: RO

(Have sent an attachment to Sue privately)
We musicians appear in the distance (under the "Round Table") in the first picture from Winchester, but that's all as it's the dance group's website. When our own site gets off the ground there should be plenty of pics.



Kate Bunting
Library, University of Derby

>>> mooncat@in-tch.com 01/13/03 04:58am >>>
Thanks, Kate.
Are you in any of the pictures? Everyone's outfits look great!
--sue, who has to hide her hair, too (not too short, but not long
enough, either, and definitely too fine to do much with <g>)

Kate M Bunting wrote:
> 
> (Blushing) Many thanks for your kind words, Stevie!
> 
> Our secretary is supposed to be setting up a website for the group; when this materialises, I'll let everyone have the address. You can see a picture of the dancers at the event at http://www.hants.gov.uk/basdance/index3.html 
> 
> To Sue who asked about my outfit - The bodice is a simplified version of the 1630s one in the V&A (see Nicole's website www.kipar.org under Costume - Surviving garments) made in a terracotta-coloured glazed cotton. The skirt is blue brocade with a small pattern. To hide my short hair I wear a semi-opaque black veil.
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Date: Tue, 14 Jan 2003 07:02:04 -0800 (PST)
Status: RO


Wrong side of the country, drat it!  And the on-line
sources are showing $125.00 at the lowest.  I just
bought QE's Wardrobe Unlocked, so I guess I'll have to
wait until next Christmas for this one!  Thanks for
looking!  Kay

At 12:58 PM -0800 1/13/03, Kay Shelton wrote:
>Angharad, where did you get a copy of _The
>Costume Maker's Art_?  I've been looking and looking.
>Kay

There was a second-hand copy at Moe's Books in 
Berkeley this afternoon.

Heather

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Date: Tue, 14 Jan 2003 07:11:25 -0800
Status: RO


At 08:38 PM 1/13/2003 -0700, you wrote:
>A couple of friends and I are considering doing some skiing in retro
>fashion, wearing skirts, for a lark.  I fancy a mid-calf wool skirt with
>stretch side panels, and vest to match.  But what about the fabric
>for the stretch panels?

well, in the early 70's when I was learning to ski, I once saw a woman 
skiing in a skirt. She was telemarking too, which was not all that common 
then.  My unreliable memory says wool skirt, probably gored, it was full 
enough at the bottom that she didn't have any trouble with it being too 
tight, or needing stretch panels. She was wearing a wool sweater.  I think 
it might have been ankle length. Looked quite comfortable. As far as what 
they wore historically, I'm afraid I'm not much help. For a fabric source, 
try Rainshed Outdoor Fabrics 541-753-8900. They used to sell fabric like 
this, I don't know if they still do or not. As far as I know, they don't 
have a web site.

>And is there any history of women skiing in skirts?  I know of skirts
>(quilted) used as ski wear for religious reasons, but the U.S., as far
>as I can tell, has no such mainstream tradition.  Europe, perhaps?
>Skiing as recreation may simply postdate pants for women, but
>what about skiing as transportation for chores and visits?

I think snowshoeing might have been more likely for this, but that's just a 
guess on my part.
--
Joyce

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Date: Tue, 14 Jan 2003 15:19:14 +0000
Status: RO

Yes, Richard Scollins is a British dialect expert; he co-wrote a book called "Ey up, mi duck" about the East Midlands dialect. I can't trace "O for a muse of foyre" in my sources here, but guess from the title that it was an attempt to reproduce the original pronunciation of Shakespeare's plays.



Kate Bunting
Library, University of Derby

>>> r.carnegie@verizon.net 01/11/03 05:07pm >>>

> 
> From: Marsha Hamilton <mjh@pearlandplume.com>
> Date: 2003/01/10 Fri PM 04:41:45 EST
> To: <h-costume@indra.com>
> Subject: Re: [h-cost] Authentic pronunciations
> 
> Plimoth Plantation used to sell an audio tape (I have a copy) called
> "O FOR A MUSE OF FOYRE!" by Richard Scollins and Ram's Bottom.  It was $9.95
> back in the day and demonstrates the accent used by interpretive staff at
> Plimoth Plantation.
> 
> Foyre (like foyer) by the way is the pronunciation of "fire".  If you listen
> to the tape enough times, you can pick up the accent which is rough, vaguely
> rural English, fun to try.
> 
> I didn't find the tape listed on Plimoth's website <www.plimoth.org> but
> they may be able to assist if you contact them.  Good luck.
> 
> Marsha
> ---------


    The tape is still available, though I am having trouble remembering where I last saw it.  Try Sykes Sutlery.  It is NOT however THE accent used at Plimoth. It was produced by a British Company.  Plimoth uses several different dialects reflecting the main areas of England that the Pilgrim's originally came from.  They are expected to learn the dialect assigned to their character.  The interpreters there are also taught a smattering of Nederlander since they had been leaving there.

Cheers,
Ron

R.Carnegie@verizon.net 
"Argue for your limitations, and they are yours."
             R. Bach

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From h-costume-admin@indra.com  Tue Jan 14 10:26:02 2003
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Date: Tue, 14 Jan 2003 16:26:41 +0100
Status: RO

HI All!

I would like to ask all those who ordered a catalog through me to please
send me a quick mail and let me know if you got it! For some it has been up
to 6 weeks since they ordered. I did say it could take up to 8 weeks since
the books went to the States by slow boat. As far as I know all the
Europeans got theirs (since there usually is not a boat necessary in the
delivery ;) - if not let me know! All this is to check to see if doing it
through me is a viable option in getting this really cool book! I don't want
to have any more sent until people in the States start getting theirs.

Cass :)

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Costume Maker's Art
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Date: Tue, 14 Jan 2003 07:49:55 -0800
Status: RO


>Thanks Angharat.  I just checked www.abebooks.com and
>now Costume Maker's Art is $125.00.  I am one of the
>people on the waiting list at Amazon and have been for
>a couple of years now.  I guess I'll just keep
>enjoying the library copy for a while longer.  Thank
>you for sharing your research, anyway.  Kay

That's for the paperback edition???


Kayta

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Date: Tue, 14 Jan 2003 11:19:07 EST
Status: RO

Sniff! !!!!! I so wanted to see Bjarne's dress---but using that url, I kept 
getting the message that the page was removed:(
Albra( VERY disappointed:(
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From: "Signora Apollonia Margherita degli Albizzi" <apollonia@bellsouth.net>
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Subject: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 11:36:10 -0500
Status: RO

I am in the process of making this dress and camicia and am stumped as to
whether the camicia is all one piece, or if it is a partlet and camicia...
I am leaning towards partlet and camicia, but I wanted to know what you all
thought...

http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg

Thanks!

Apollonia

Signora Apollonia Margherita degli Albizzi
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
immane mittam.**

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 14 Jan 2003 17:54:10 +0100
Status: RO

Try again, perhaps i was sending files to the webplace!!

Bjarne

Otherwise let me know and ill send it for you...
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <AlbraKat@aol.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 14, 2003 5:19 PM
Subject: Re: [h-cost] Pattern by M. Leloir


> Sniff! !!!!! I so wanted to see Bjarne's dress---but using that url, I
kept
> getting the message that the page was removed:(
> Albra( VERY disappointed:(
> _______________________________________________
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Date: Tue, 14 Jan 2003 17:53:01 +0100
Status: RO

Worked like a horse today and still not finished yierk!!!!
Then i got an email from my costumer, saying she dont need the dress for the
birdsday because it is an informal occation. Her dress is two informal she
thinks for the occation.
I am very happy about this because it gives me more time to make the
finishing touches.
I hate to be in a hurry mostly because the sewing gets so
wrong......................
sigh.
This night i am going to serv english beefstick and a bottle of red wine. It
was my birdsday yesterday, and we had pizza because i was so buisy.
My birdsday pressent from Leif was: Jack Cassin Scott "Making Historical
Costume Dolls" YYYYYYYYYIIIppie YEahhhhhhhhhhhhh!!!!!


The latest photos show the real colour!!!!!!!!!!
http://www.my-drewscostumes.dk/sack_dress_1770.htm

Bjarne
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] Pattern of sackdress by M. Leloir
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Date: Tue, 14 Jan 2003 12:14:33 EST
Status: RO

Well--I was finally successful in getting  to Bjarne's site:) Boooootiful, 
booootiful work!! I think I am about  to get 'seduced to the Dark Side' very 
soon:)
Albra
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] update of sack dress
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Date: Tue, 14 Jan 2003 17:15:37 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > 
> This night i am going to serv english beefstick and a bottle of red wine. It
> was my birdsday yesterday, and we had pizza because i was so buisy.
> My birdsday pressent from Leif was: Jack Cassin Scott "Making Historical
> Costume Dolls" YYYYYYYYYIIIppie YEahhhhhhhhhhhhh!!!!!

HAPPY BIRTHDAY Bjarne! 

So glad you don't have to work in such a mad rush now. Looking forward to see
the finished product and have fun doll making!

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Italian Camicia/partlet?
To: h-costume@indra.com
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Date: Tue, 14 Jan 2003 17:19:20 +0000 (GMT)
Status: RO

 --- Signora Apollonia Margherita degli Albizzi <apollonia@bellsouth.net>
wrote: > I am in the process of making this dress and camicia and am stumped as
to
> whether the camicia is all one piece, or if it is a partlet and camicia...
> I am leaning towards partlet and camicia, but I wanted to know what you all
> thought...
> 
> http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg
> 
>From what I can see on my monitor (and not having a clue about Italian
clothing) it looks like two part, there is a line down which looks like the
neck opening of the camicia, and then as if there were two collars, one being
the partlet.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Tue, 14 Jan 2003 18:19:39 +0100
Status: RO

Sorry about all my buisy postings for you.
I am angry................
I think it was very rude of my costumer to make me make that dress and stop
the embroidered dress for my amarikan costumer. She told me her dress was
tared apart and she didn have anything to wear.
But she must have another dress she can use.
I had to tell my amarikan costumer that i had lumonia and had to stop for a
while.
She didnt mind, and she was not going to use it for any occasion, but
anyway,, i think it was wrong.............
Off cause i am glad because it gave me more time to make the dress, but
still i am angry.................
Sorry folks, just had to tell somebody.................
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] sack dress
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Date: Tue, 14 Jan 2003 17:49:54 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Sorry about all my
buisy postings for you.
> I am angry................
> I think it was very rude of my costumer to make me make that dress and stop
> the embroidered dress for my amarikan costumer. She told me her dress was
> tared apart and she didn have anything to wear.
> But she must have another dress she can use.
> I had to tell my amarikan costumer that i had lumonia and had to stop for a
> while.
> She didnt mind, and she was not going to use it for any occasion, but
> anyway,, i think it was wrong.............
> Off cause i am glad because it gave me more time to make the dress, but
> still i am angry.................
> Sorry folks, just had to tell somebody.................

I understand dear, I just didn't want to say it and saw the bright side, of you
not having to hurry too much anymore.
Take a rest, sit down and have a wonderful evening meal, read through your new
book and keep us posted with anything you are making. :-) I s'pose you can see
us as your agony aunts. :-))

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Re: Costume Maker's Art
To: h-costume@indra.com
In-Reply-To: <no.id> from "Kay Shelton" at Jan 14, 2003 06:19:28 AM
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Date: Tue, 14 Jan 2003 10:09:55 -0800 (PST)
Status: RO

What makes this book so wonderful..?

(just what I need, one more thing to want)

.heather.

> 
> Thanks Angharat.  I just checked www.abebooks.com and
> now Costume Maker's Art is $125.00.  I am one of the
> people on the waiting list at Amazon and have been for
> a couple of years now.  I guess I'll just keep
> enjoying the library copy for a while longer.  Thank
> you for sharing your research, anyway.  Kay
> 
> 
> Kay,
> 
> To find this wonderful, but out-of-print book, I did
> several searches on the bookseller's list.  
> 
> Amazon.com (US) had people waiting to have a copy come
> up available.  I didn't check the other sites.
> 
> ISBN.nu wasn't much help for me on this one
> unfortunately, nor was Hamiltonbooks.com.  
> 
> Half.com (i think) the one attached to eBay, had
> several listings for copies, but upwards of $170 US
> for them!  I think there was one for $75 US there
> though.
> 
> www.abebooks.com had a listing with abyssbooks so I
> was able to obtain a very good hardcover edition, for
> more than the original price, sure, but under $70,
> including the shipping.  
> 
> It showed up while I was at the con, so a spiff way to
> end the weekend!
> 
> Angharat
> 
> 
> 
> __________________________________________________
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From: Heather Meadows <alice@wonderland.com>
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Subject: Re: [h-cost] costume lecture re-scheduled
To: h-costume@indra.com
In-Reply-To: <no.id> from "Sue Clemenger" at Jan 14, 2003 07:12:15 AM
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Date: Tue, 14 Jan 2003 10:13:50 -0800 (PST)
Status: RO

oh, I found one this year.  supportive, perfect under a tshirt and an evening
dress, less than $30... microfiber comfort... 
as a G cup, that was a 20 year search, finally ended.

Then, of course, Lunaire stopped making the bra six weeks after I tested it
and fell in love with it.  I haven't been able to find deadstock anywhere

I'm waiting until it dies completely and then I'm going to teach myself to make
bras... (and yes I already have most of the URLs out there for how to do it, and
the bra FAQ...)

.heather.


> 
> *snort*
> Isn't that like searching for the Holy Grail??
> --sue, completely tongue-in-cheek
> 
> AnnBWass@aol.com wrote:
> > 
> > Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been
> > re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale
> > House Museum, 4811 Riverdale Road, Riverdale Park MD.  Dr. Gau is the
> > co-author of "Uplift: the Bra in America," and will also be signing
> > copies of her book.  Cost of the lecture is $5.00.
> > For more information call 301-864-0420.
> > Ann Wass
> _______________________________________________
> 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 Jan 14 13:35:31 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] origin of words,  wheelfarthingale_ fishboneskirt.
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Date: Tue, 14 Jan 2003 19:36:17 +0100
Status: RO

Hello again,.
Just setteling down again and relaxing...................
While sewing i often sit and think about historical sewing things.
Thoaght about the word wheel farthingale and then the danish word for an
18th century hoop called fishbone skirt "fiskebens skørt"
Perhaps that danish word also is a wrong phrase, because when i think of it,
no skirts ever had whalebones in it?
Does any of you know of any skirt supports with whalebone?
The large sweedish hoop under the coronation dress of Sophia Magdalena had
steels, a danish hip panier had wood and what about the rest of the
surviving supports?
Where could i find more information about a danish word fiskebens skirt,
knowing when it was invented?
Was this word just made because they knew that the corsets had whalebones,
and then thoaght the skirts had the same thing? Was it just a romantic
thoaght?
Would it not be impossible to make an 18th century hoop with whalebone?
would the bones be long enough?
Tomorrow i am going to put the last embroidery to the frame! Really missed
my embroidery.


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] sack dress
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Date: Tue, 14 Jan 2003 13:22:53 EST
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In a message dated 1/14/2003 12:20:13 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> Off cause i am glad because it gave me more time to make the dress, but
> still i am angry.................
> 

Charge her a rush fee anyway.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/14/2003 12:20:13 PM Eastern Standard Time, drewscph@post12.tele.dk writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Off cause i am glad because it gave me more time to make the dress, but<BR>
still i am angry.................<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Charge her a rush fee anyway.</FONT></HTML>

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Subject: Re: [h-cost] costume lecture re-scheduled
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Date: Tue, 14 Jan 2003 12:38:40 -0600
Status: RO

Big Lots or other such places will have it if not now, soon.

That is where I found a similar item that I thought I would never see again.
Bought them all out from every store I could find. :)

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 14, 2003 12:13 PM
Subject: Re: [h-cost] costume lecture re-scheduled


> oh, I found one this year.  supportive, perfect under a tshirt and an
evening
> dress, less than $30... microfiber comfort...
> as a G cup, that was a 20 year search, finally ended.
>
> Then, of course, Lunaire stopped making the bra six weeks after I tested
it
> and fell in love with it.  I haven't been able to find deadstock anywhere
>
> I'm waiting until it dies completely and then I'm going to teach myself to
make
> bras... (and yes I already have most of the URLs out there for how to do
it, and
> the bra FAQ...)
>
> .heather.
>
>
> >
> > *snort*
> > Isn't that like searching for the Holy Grail??
> > --sue, completely tongue-in-cheek
> >
> > AnnBWass@aol.com wrote:
> > >
> > > Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been
> > > re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale
> > > House Museum, 4811 Riverdale Road, Riverdale Park MD.  Dr. Gau is the
> > > co-author of "Uplift: the Bra in America," and will also be signing
> > > copies of her book.  Cost of the lecture is $5.00.
> > > For more information call 301-864-0420.
> > > Ann Wass
> > _______________________________________________
> > 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 Jan 14 13:47:16 2003
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Subject: Re: [h-cost] costume lecture re-scheduled
To: h-costume@indra.com
In-Reply-To: <no.id> from "chiara" at Jan 14, 2003 12:38:40 PM
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Date: Tue, 14 Jan 2003 10:47:11 -0800 (PST)
Status: RO

it's not that big of a brand, I am afraid...

> 
> Big Lots or other such places will have it if not now, soon.
> 
> That is where I found a similar item that I thought I would never see again.
> Bought them all out from every store I could find. :)
> 
> Sincerely,
> Chiara
> Ansteorra, Steppes
> Not all ermine spots are created equally
> 
> ----- Original Message -----
> From: "Heather Meadows" <alice@wonderland.com>
> To: <h-costume@indra.com>
> Sent: Tuesday, January 14, 2003 12:13 PM
> Subject: Re: [h-cost] costume lecture re-scheduled
> 
> 
> > oh, I found one this year.  supportive, perfect under a tshirt and an
> evening
> > dress, less than $30... microfiber comfort...
> > as a G cup, that was a 20 year search, finally ended.
> >
> > Then, of course, Lunaire stopped making the bra six weeks after I tested
> it
> > and fell in love with it.  I haven't been able to find deadstock anywhere
> >
> > I'm waiting until it dies completely and then I'm going to teach myself to
> make
> > bras... (and yes I already have most of the URLs out there for how to do
> it, and
> > the bra FAQ...)
> >
> > .heather.
> >
> >
> > >
> > > *snort*
> > > Isn't that like searching for the Holy Grail??
> > > --sue, completely tongue-in-cheek
> > >
> > > AnnBWass@aol.com wrote:
> > > >
> > > > Dr. Colleen Gau's lecture, "Looking for the Perfect Bra," has been
> > > > re-scheduled for Sunday, February 2, at 2:00 p.m. at the Riversdale
> > > > House Museum, 4811 Riverdale Road, Riverdale Park MD.  Dr. Gau is the
> > > > co-author of "Uplift: the Bra in America," and will also be signing
> > > > copies of her book.  Cost of the lecture is $5.00.
> > > > For more information call 301-864-0420.
> > > > Ann Wass
> > > _______________________________________________
> > > 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: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] sack dress
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Date: Tue, 14 Jan 2003 19:54:14 +0100
Status: RO

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She did send me money today, soooooooooooooo it is ok.
Bjarne.
Those money is going for books, silks and wine!!!!!!!!!!!!!!!=20

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
  ----- Original Message -----=20
  From: AlbertCat@aol.com=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 14, 2003 7:22 PM
  Subject: Re: [h-cost] sack dress


  In a message dated 1/14/2003 12:20:13 PM Eastern Standard Time, =
drewscph@post12.tele.dk writes:



    Off cause i am glad because it gave me more time to make the dress, =
but
    still i am angry.................



  Charge her a rush fee anyway.=20

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>She did send me money today, =
soooooooooooooo it is=20
ok.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Bjarne.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Those money is going for books, silks =
and=20
wine!!!!!!!!!!!!!!!&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>Leif og Bjarne Drews<BR><A=20
href=3D"http://www.my-drewscostumes.dk">www.my-drewscostumes.dk</A></DIV>=

<DIV>&nbsp;</DIV>
<DIV><A=20
href=3D"http://home0.inet.tele.dk/drewscph/">http://home0.inet.tele.dk/dr=
ewscph/</A></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> Tuesday, January 14, 2003 =
7:22=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] sack =
dress</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial size=3D3 =
FAMILY=3D"SANSSERIF">In a=20
  message dated 1/14/2003 12:20:13 PM Eastern Standard Time, <A=20
  href=3D"mailto:drewscph@post12.tele.dk">drewscph@post12.tele.dk</A>=20
  writes:<BR><BR></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
#ffffff"=20
  face=3DArial color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF"><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE">Off cause i am glad because it gave me more time to make =
the=20
    dress, but<BR>still i am=20
  angry.................<BR></BLOCKQUOTE><BR></FONT><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D3=20
  FAMILY=3D"SANSSERIF"><BR>Charge her a rush fee anyway.</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

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From h-costume-admin@indra.com  Tue Jan 14 14:11:01 2003
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To: h-costume@indra.com
From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 11:08:51 -0800
Status: RO

I agree.  I very definitely see two necklines.  maryann

At 05:19 PM 1/14/2003 +0000, you wrote:
>  --- Signora Apollonia Margherita degli Albizzi <apollonia@bellsouth.net>
>wrote: > I am in the process of making this dress and camicia and am 
>stumped as
>to
> > whether the camicia is all one piece, or if it is a partlet and camicia...
> > I am leaning towards partlet and camicia, but I wanted to know what you all
> > thought...
> >
> > http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg
> >
> From what I can see on my monitor (and not having a clue about Italian
>clothing) it looks like two part, there is a line down which looks like the
>neck opening of the camicia, and then as if there were two collars, one being
>the partlet.
>
>Nicole
>
>=====
>Nicole Kipar M.A.
>URL: http://www.kipar.org/
>Email: nicole@kipar.org
>
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From h-costume-admin@indra.com  Tue Jan 14 14:19:55 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 20:20:16 +0100
Status: RO

I have not followed this, but two necklines? I se a fold in the shirt, not
another neckline.
This picture is very interresting.
I never thoaght that ruffs were attached to the shirt. I always thoaght it
was a seperate garment.

Bjarne


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Date: Tue, 14 Jan 2003 20:35:45 +0100
Status: RO

I am so sorry, i never should have said that.
It is not my period, and i shoud shot my mouth.
Next year i want to order Margos Patterns and then i want to start
rennaissance.................

Bjarne








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Subject: [h-cost] Cool Fabric Site
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Date: Tue, 14 Jan 2003 15:00:12 -0500
Status: RO

A friend told me about this cool fabric site
http://www.ladybuttonfabrics.com/cgi-bin/shopping/imgsearch.cgi  You can
search by topic.  I was looking for Japanese prints and entered that in the
search category.  Came up with some nice one.  I also know they have
Medieval prints too.

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, 14 Jan 2003 14:37:42 -0500
Status: RO

        And you have every right to be angry.  It was a selfish thing for
her to fib to you.  You are so nice to go to all that work and then have
her say "oh never mind - I won't need it after all".  What a nice person
you are not to have told her off and let her find someone else to make
her a costume that wouldn't be half as nice as anything you can do.

Lalah
Never give up, Never surrender
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Subject: [h-cost] Belated happy birthday
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Date: Tue, 14 Jan 2003 14:34:39 -0500
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        And a very happy birthday (if a day late) to you Bjarne!!!!

Lalah
Never give up, Never surrender
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Date: Tue, 14 Jan 2003 15:19:17 -0500
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<<<Those money is going for books, silks and wine!!!!!!!!!!!!!!! >>>

Bjarne, I love your priorities!!  Enjoy

Lalah
Never give up, Never surrender
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Date: Tue, 14 Jan 2003 15:20:49 -0500
Status: RO

        Gee, thanks!  Just what I need, another place to spend money I
don't have.  Thanks, Penny

Lalah
Never give up, Never surrender
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Subject: [h-cost] Lining Persian and Ottoman "Coats"
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Date: Tue, 14 Jan 2003 12:34:58 -0800
Status: RO

As I think I've mentioned, I've been working on creating a 16th 
century Persian outfit and a 16th century Ottoman outfit.

For the prototypes, I used somewhat icky, but useable fabrics - 
comparatively inexpensive silk-looking synthetic damasks for the 
Persian tunic-coats and the Ottoman hirka, and a partly-synthetic 
upholstery Jacquard for the Ottoman khaftan.

Once I get the bugs out, I'll make the outfits in somewhat better 
fabrics, mostly cotton and discount silk, and less polyester :-) so I 
can wear them camping, which is mostly what we do in The West Kingdom 
of the SCA.

Then when I'm sure I've got it down, I'll use the expensive fabrics 
I've been buying over the past several years and hoarding in a dark 
corner of a closet - I'm really scared to cut into them - most of 
these were over $20 per yard, some much more, so I want to be sure I 
really know what I'm doing, and doing it well, before I destroy them.

(I've already got the salwar/pants down, after making them for 3 years)

 From Persian paintings and surviving Ottoman garments I can see that 
the outer garments, which I'm calling "coats" here,  all have wide 
facings at least, and are most likely fully lined. Many Ottoman 
garments actually appear to be both lined with one color, often white 
(cotton? linen?) and faced with a different color (usually intensely 
colored silk), and of course these are different from the outer 
fabrics (for example, rich golden yellow faced with intense kermes 
red, or medium cobalt indigo blue faced with olivey-leafy-poison 
green silk moire).

But I can't see the seams and garment assembly, and I'm trying to 
decide just *how* to line the "coats". There are two ways I know of.

One is flat lining, which I've done in the bodice of an 1830s dress I 
made. First, the lining and outer fabrics are cut into the same 
shapes. Next the lining fabric is sewn to each outer fabric piece 
individually. Finally the pieces are sewn together.

The other way is, I think, called bag lining. In this case, you sew 
the outer fabric pieces together to make the garment. And you sew the 
lining fabric to make, as it were, a second garment. Then you sew the 
two "garments" together, so all the seams are hidden inside.

So, two questions:

First, anyone know how they were actually assembled? Which kind of 
lining technique? I'm leaning to flat lining, but I don't really know.

Second, is there a special technique for lining a garment AND putting 
in facings, or vice versa? This is for the Ottomans. I've faced 
garments before, but i don't recall ever fully lining anything with a 
bag lining, so i've never put in both a facing and a lining in one 
garment.

Thanks for any suggestions,

Anahita
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Date: Tue, 14 Jan 2003 22:11:17 +0100
Status: RO

Dear Lalah.
Thanks a lot for your wonderfull back up!
Ottoman costume is very luxurious.
Did you ever se the pallace at Istanbul?
I went there 3 times and was in awe when i saw the costumes, and the
fabrics.
I went to Turkey with a very deer friend of mine many years ago. It was my
friend who persuaded me to go. Boy was i surprised of the friendly people
and colture they had.
I went with my friend 2 times more to Istanbull and we stayed there on a
very cheep hospice where inter travellers stayed.
Once more i went to Topkapi Palace and i never forget the wiev there was at
the coffe shop over the waters!
My friend died 2 years ago. He was an alcoholic. I shal never forget my
friend, and i will always remember him when i think of turkey and Ottoman
Empire.
ps. My friend was not gay as i am, but we had a very nice friendship and it
was only a few years later that i meat Leif my only love in life.
Thanks Lalah!!!!!!!!!!!

Bjarne



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Date: Tue, 14 Jan 2003 22:40:17 +0100
Status: RO

At least you can be inspired by the fabrics and this is free!
i often gets inspired by fabrics to embroider!!
Remember all things in life has a price.
Those who are free, are the best!!!!

Sorry folks.
I have taken two much of your bandwidth tonight. but it was because i was so
despared when i sat there sewing and could not catch up with you guys.
Maybe also because i had a glass of red wine tooo much.
Still i say like the danish expensive designer whom i dont remember the name
of, she has a lot of expensive shops in London, Paris, Nice and Copenhagen,
she says
IT IS NEVER TWO MUCH! YYYYYYYYYYYOUPIIIeh
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Lalah T Tillinghast" <catpurson@juno.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 14, 2003 9:20 PM
Subject: Re: [h-cost] Cool Fabric Site


>         Gee, thanks!  Just what I need, another place to spend money I
> don't have.  Thanks, Penny
>
> 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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Subject: [h-cost] Pinned on stomachers.
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Date: Tue, 14 Jan 2003 14:43:54 -0700
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A friend of mine asked me a question about pinned on stomachers which
caused me to go looking in QEWU and Waugh.  
 
 
Arnold states that stomachers show up as early as 1450. And then goes on
to say they were pinned on over a bodice.  She also says they were not
listed separately in the inventories and assumes they were pinned on.  I
was surprised by this.  I thought separate stomachers showed up later
(late 1600's) and were laced in under the gown.  
 
Does that mean that the Jane Seymour dress by Holbein might have been
pinned on both sides? 
 
http://www.uvm.edu/~hag/sca/tudor/redjane.jpg
 
I'd like to hear from those of you who have done more research in this
area than me.

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<div class=3DSection1>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>A
friend of mine asked me a question about pinned on stomachers which =
caused me
to go looking in QEWU and Waugh.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><st1:City><st1:place><font size=3D3 =
color=3Dblack face=3DArial><span
  =
style=3D'font-size:12.0pt;color:black'>Arnold</span></font></st1:place></=
st1:City><font
color=3Dblack><span style=3D'color:black'> states that stomachers show =
up as early
as 1450. And then goes on to say they were pinned on over a bodice.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>She also says they were not =
listed separately
in the inventories and assumes they were pinned on. <span
style=3D'mso-spacerun:yes'>&nbsp;</span>I was surprised by this.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>I thought separate stomachers =
showed up
later (late 1600's) and were laced in under the gown.<span
style=3D'mso-spacerun:yes'>&nbsp; </span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'>Does that mean that the Jane =
Seymour dress
by <span class=3DSpellE>Holbein</span> might have been pinned on both =
sides? <o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><a
href=3D"http://www.uvm.edu/~hag/sca/tudor/redjane.jpg">http://www.uvm.edu=
/~hag/sca/tudor/redjane.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoPlainText><font size=3D3 color=3Dblack face=3DArial><span
style=3D'font-size:12.0pt;color:black'>I'd like to hear from those of =
you who
have done more research in this area than =
me.<o:p></o:p></span></font></p>

</div>

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Her name is Isabel Christensen.
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Date: Tue, 14 Jan 2003 22:45:03 +0100
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The famous danish designer is Isabel Christensen.
Just remembered
And now i sign off.
Sorry about my buisy off postings folks

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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  ----- Original Message -----=20
  From: Bjarne og Leif Drews=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 14, 2003 1:54 PM
  Subject: Re: [h-cost] sack dress


  She did send me money today, soooooooooooooo it is ok.
  Bjarne.
  Those money is going for books, silks and wine!!!!!!!!!!!!!!! <<

  Truly a man after my heart.  I too think all money earned from =
costuming should be spent on those items, in that order!

  Dianne

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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=3Ddrewscph@post12.tele.dk =
href=3D"mailto:drewscph@post12.tele.dk">Bjarne=20
  og Leif Drews</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> Tuesday, January 14, 2003 =
1:54=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] sack =
dress</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>She did send me money today, =
soooooooooooooo it=20
  is ok.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>Bjarne.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2>Those money is going for books, silks =
and=20
  wine!!!!!!!!!!!!!!!&nbsp;&lt;&lt;</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Truly a man after my heart.&nbsp; I =
too think all=20
  money earned from costuming should be spent on those items, in that=20
  order!<BR><BR>Dianne</FONT></DIV>
  <DIV><FONT face=3DArial =
size=3D2></FONT>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Pinned on stomachers.
In-Reply-To: <000001c2bc16$098b6d30$6601a8c0@mycomputer>
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Date: Tue, 14 Jan 2003 16:07:56 -0600 (CST)
Status: RO


On Tue, 14 Jan 2003, Saragrace Knauf wrote:

> Arnold states that stomachers show up as early as 1450. And then goes
> on to say they were pinned on over a bodice.  She also says they were
> not listed separately in the inventories and assumes they were pinned
> on.  I was surprised by this.  I thought separate stomachers showed up
> later (late 1600's) and were laced in under the gown.

1450 is a little early for what I would call a "stomacher" in the
Elizabethan sense, but it's close to date for the placket that goes behind
the lacing in the V-necked "Burgundian" robes of the last half of the
1400s. Best guess is that these were pinned in. Perhaps that's what Arnold
meant?

Some later 15th-century dresses have wide-gapped lacings that come down in
a U shape to the belly, over a solid fabric that may have been an
undergown or may have been a separate piece; this might be a better
candidate for the term "stomacher," though I would not personally have
thought of calling them that. (We had a thread about these dresses a
couple of months ago. They tend to appear on young girls and nubile
saints.)

I have no idea of the period term for these 15th-century insets; in modern
books, they're often called "plackets" or "pieces" (accent grave over the
first e).

--Robin

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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 14:11:59 -0800
Status: RO

At 08:35 PM 01/14/2003 +0100, Bjarne og Leif Drews wrote:

>Next year i want to order Margos Patterns and then i want to start
>rennaissance.................

I can't WAIT to see what you do with them, Bjarne!  and Happy Birthday!

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
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From: "Mary Temple" <noxcat@hotmail.com>
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 22:28:57 +0000
Status: RO

Frp, what I'm seeing in the image, they're two pieces. In particular, I'm 
looking slightly above the CF closure of the yellow gown. There looks to be 
a white garment under the "partlet", so I'd make it as two seperate 
pieces...

Mary/Katerine

>I am in the process of making this dress and camicia and am stumped as to
>whether the camicia is all one piece, or if it is a partlet and camicia...
>I am leaning towards partlet and camicia, but I wanted to know what you all
>thought...
>
>http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg
>
>Thanks!
>
>Apollonia
>
>Signora Apollonia Margherita degli Albizzi
>Kingdom of Atlantia
>www.livejournal.com/users/apollonia
>
>**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
>immane mittam.**
>
>_______________________________________________
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In a message dated 1/14/2003 4:56:41 PM Eastern Standard Time, 
goofy1@suscom.net writes:


> Those money is going for books, silks and wine!!!!!!!!!!!!!!! <<
>  
> Truly a man after my heart.  I too think all money earned from costuming 
> should be spent on those items, in that order!
> 
> 

I'd, of course, reverse the order.   :-P

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/14/2003 4:56:41 PM Eastern Standard Time, goofy1@suscom.net writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Those money is going for books, silks and wine!!!!!!!!!!!!!!! &lt;&lt;</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
 <BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Truly a man after my heart.&nbsp; I too think all money earned from costuming should be spent on those items, in that order!<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</BLOCKQUOTE><BR>
<BR>
I'd, of course, reverse the order.&nbsp;&nbsp; :-P</FONT></HTML>

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Yes, but I'm not overly fond of wine. Now, Chambord liqueur, OTOH....

Dianne
  ----- Original Message -----=20
  From: AlbertCat@aol.com=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 14, 2003 6:07 PM
  Subject: Re: [h-cost] sack dress


  In a message dated 1/14/2003 4:56:41 PM Eastern Standard Time, =
goofy1@suscom.net writes:



    Those money is going for books, silks and wine!!!!!!!!!!!!!!! <<

    Truly a man after my heart.  I too think all money earned from =
costuming should be spent on those items, in that order!




  I'd, of course, reverse the order.   :-P 
------=_NextPart_000_0384_01C2BBFB.49379500
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charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Yes, but I'm not overly fond of wine. =
Now, Chambord=20
liqueur, OTOH....</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Dianne</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> Tuesday, January 14, 2003 =
6:07=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] sack =
dress</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial size=3D3 =
FAMILY=3D"SANSSERIF">In a=20
  message dated 1/14/2003 4:56:41 PM Eastern Standard Time, <A=20
  href=3D"mailto:goofy1@suscom.net">goofy1@suscom.net</A>=20
  writes:<BR><BR></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
#ffffff"=20
  face=3DArial color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF"><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE">Those money is going for books, silks and =
wine!!!!!!!!!!!!!!!=20
    &lt;&lt;</FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: #ffffff" =
face=3DArial=20
    color=3D#000000 size=3D3 FAMILY=3D"SANSSERIF"><BR><BR></FONT><FONT =
lang=3D0=20
    style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D2=20
    FAMILY=3D"SANSSERIF">Truly a man after my heart.&nbsp; I too think =
all money=20
    earned from costuming should be spent on those items, in that=20
    order!<BR></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: #ffffff" =
face=3DArial=20
    color=3D#000000 size=3D3 =
FAMILY=3D"SANSSERIF"><BR></BLOCKQUOTE><BR><BR>I'd, of=20
  course, reverse the order.&nbsp;&nbsp; :-P</FONT>=20
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Date: Tue, 14 Jan 2003 20:26:45 -0500
Status: RO

On Tuesday 14 January 2003 02:20 pm, Bjarne og Leif Drews wrote:
> I have not followed this, but two necklines? I se a fold in the shirt, not
> another neckline.

I'm inclined to agree with you on this one, Bjarne.

> This picture is very interresting.
> I never thoaght that ruffs were attached to the shirt. I always thoaght it
> was a seperate garment.

I agree about ruffs but the thing in the picture isn't quite a ruff--more like 
a very aggressive ruffle.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Skiing in skirts
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Date: Tue, 14 Jan 2003 20:36:03 -0500
Status: RO

On Monday 13 January 2003 02:27 pm, hillrk@lariat.org wrote:
>[text cut here]

> And is there any history of women skiing in skirts?  I know of skirts
> (quilted) used as ski wear for religious reasons, but the U.S., as far
> as I can tell, has no such mainstream tradition.  Europe, perhaps?
> Skiing as recreation may simply postdate pants for women, but
> what about skiing as transportation for chores and visits?

I don't know about skiing, but I saw a bizarre photograph once of a woman in a 
mid-1860's crinoline mountain climbing (the slope was quite shallow, and she 
used what looked like two ski poles for balance)....

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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To: h-costume@indra.com, "h-costume" <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Cool Fabric Site
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Date: Tue, 14 Jan 2003 18:07:52 -0800
Status: RO

At 03:00 PM 01/14/2003 -0500, Penny Ladnier wrote:
>A friend told me about this cool fabric site
>http://www.ladybuttonfabrics.com/cgi-bin/shopping/imgsearch.cgi  You can
>search by topic.  I was looking for Japanese prints and entered that in the
>search category.  Came up with some nice one.  I also know they have
>Medieval prints too.
>

Thanks so much, Penny!  My son is turning seven this month, and we're
decorating his room as his big present.  He LOVES the medieval dragon print!

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Tue, 14 Jan 2003 20:03:36 -0700
Status: RO

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Bjarne's note reminded me of another cool fabric site that lets you add
the different fabrics to a palate (you can even save it!).  Mind you,
most of these are quilting fabrics, but there are some cool cottons shot
with metallic (fake) thread.
 
I sat one night and added three hundred dollars of fabrics to my palate.
Then I couldn't decide what to buy and just erased it all.  It was very
satisfying.  It was kind of like turning down a piece of chocolate cake
you don't need!  
 
http://www.equilter.com/
 
Sg
 
 
>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Bjarne og Leif Drews
>Sent: Tuesday, January 14, 2003 2:40 PM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Cool Fabric Site
>
>At least you can be inspired by the fabrics and this is free!
>i often gets inspired by fabrics to embroider!!
>Remember all things in life has a price.
>Those who are free, are the best!!!!
>
>Sorry folks.
>I have taken two much of your bandwidth tonight. but it was because i
was so
>despared when i sat there sewing and could not catch up with you guys.
>Maybe also because i had a glass of red wine tooo much.
>Still i say like the danish expensive designer whom i dont remember the
name
>of, she has a lot of expensive shops in London, Paris, Nice and
Copenhagen,
>she says
>IT IS NEVER TWO MUCH! YYYYYYYYYYYOUPIIIeh
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>----- Original Message -----
>From: "Lalah T Tillinghast" <catpurson@juno.com>
>To: <h-costume@indra.com>
>Sent: Tuesday, January 14, 2003 9:20 PM
>Subject: Re: [h-cost] Cool Fabric Site
>
>
>>         Gee, thanks!  Just what I need, another place to spend money
I
>> don't have.  Thanks, Penny
>>
>> Lalah
>> Never give up, Never surrender
>> _______________________________________________
>> 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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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Bjarne's
note reminded me of another cool fabric site that lets you add the =
different
fabrics to a palate (you can even save it!). <span
style=3D'mso-spacerun:yes'>&nbsp;</span>Mind you, most of these are =
quilting
fabrics, but there are some cool cottons shot with metallic (fake) =
thread.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>I
sat one night and added three hundred dollars of fabrics to my =
palate.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>Then I couldn't decide what to =
buy and
just erased it all. <span style=3D'mso-spacerun:yes'>&nbsp;</span>It was =
very satisfying.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>It was kind of like turning =
down a piece
of chocolate cake you don&#8217;t need! <span
style=3D'mso-spacerun:yes'>&nbsp;</span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.equilter.com/">http://www.equilter.com/</a><o:p></o:p>=
</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'>Sg<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;-----Original
Message-----</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;From:
h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] =
On</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Behalf
Of Bjarne og Leif Drews</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Sent:
</span></font><st1:date Month=3D"1" Day=3D"14" Year=3D"2003">Tuesday, =
January 14,
 2003</st1:date> <st1:time Hour=3D"14" Minute=3D"40">2:40 =
PM</st1:time></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;To:
h-costume@indra.com</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Subject:
Re: [h-cost] Cool Fabric Site</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;At
least you can be inspired by the fabrics and this is =
free!</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;i
often gets inspired by fabrics to embroider!!</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Remember
all things in life has a price.</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Those
who are free, are the best!!!!</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Sorry
folks.</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;I
have taken two much of your bandwidth tonight. but it was because i was =
so</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;despared
when i sat there sewing and could not catch up with you =
guys.</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Maybe
also because i had a glass of red wine tooo much.</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Still
i say like the danish expensive designer whom i dont remember the =
name</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;of,
she has a lot of expensive shops in =
</span></font><st1:City><st1:place>London</st1:place></st1:City>,
<st1:City><st1:place>Paris</st1:place></st1:City>, Nice and =
<st1:City><st1:place>Copenhagen</st1:place></st1:City>,</p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;she
says</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;IT
IS NEVER TWO MUCH! YYYYYYYYYYYOUPIIIeh</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Leif
og Bjarne Drews</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;www.my-drewscostumes.dk</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;http://home0.inet.tele.dk/drewscph/</span>=
</font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;-----
Original Message -----</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;From:
&quot;Lalah T Tillinghast&quot; =
&lt;catpurson@juno.com&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;To:
&lt;h-costume@indra.com&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Sent:
</span></font><st1:date Month=3D"1" Day=3D"14" Year=3D"2003">Tuesday, =
January 14,
 2003</st1:date> <st1:time Hour=3D"21" Minute=3D"20">9:20 =
PM</st1:time></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;Subject:
Re: [h-cost] Cool Fabric Site</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;<span
style=3D'mso-spacerun:yes'>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;
</span>Gee, thanks!<span style=3D'mso-spacerun:yes'>&nbsp; </span>Just =
what I
need, another place to spend money I</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
don't have.<span style=3D'mso-spacerun:yes'>&nbsp; </span>Thanks, =
Penny</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
Lalah</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
Never give up, Never surrender</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
_______________________________________________</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
h-costume mailing list</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
h-costume@mail.indra.com</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;
http://mail.indra.com/mailman/listinfo/h-costume</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;__________________________________________=
_____</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;h-costume
mailing list</span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;h-costume@mail.indra.com</span></font></p>=


<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>&gt;http://mail.indra.com/mailman/listinfo/h-c=
ostume</span></font></p>

</div>

</body>

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From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] update of sack dress
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Date: Tue, 14 Jan 2003 20:21:50 -0700
Status: RO

Hey, Happy Birthday!!
Hope you had a lovely, relaxing dinner!
--sue

Bjarne og Leif Drews wrote:
> 
> Worked like a horse today and still not finished yierk!!!!
> Then i got an email from my costumer, saying she dont need the dress for the
> birdsday because it is an informal occation. Her dress is two informal she
> thinks for the occation.
> I am very happy about this because it gives me more time to make the
> finishing touches.
> I hate to be in a hurry mostly because the sewing gets so
> wrong......................
> sigh.
> This night i am going to serv english beefstick and a bottle of red wine. It
> was my birdsday yesterday, and we had pizza because i was so buisy.
> My birdsday pressent from Leif was: Jack Cassin Scott "Making Historical
> Costume Dolls" YYYYYYYYYIIIppie YEahhhhhhhhhhhhh!!!!!
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Date: Tue, 14 Jan 2003 20:23:56 -0700
Status: RO

Well, there's *chocolate,* too!
--sue
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Date: Tue, 14 Jan 2003 20:25:54 -0700
Status: RO

Geez, Bjarne! If a guy can't have an extra glass of wine on his
birthday, when *can* he have it? ;-P
--sue

Bjarne og Leif Drews wrote:
> 

> Sorry folks.
> I have taken two much of your bandwidth tonight. but it was because i was so
> despared when i sat there sewing and could not catch up with you guys.
> Maybe also because i had a glass of red wine tooo much.
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Tue, 14 Jan 2003 20:48:25 -0700
Status: RO

I'd say two separate items of clothing, especially since I can see a bit
of something (the camicia?) just where her cleavage meets the bodice
edge.
Great picture, by the way! What's the date on it?
--Sue, who also likes the decorated apron <g>

Signora Apollonia Margherita degli Albizzi wrote:
> 
> I am in the process of making this dress and camicia and am stumped as to
> whether the camicia is all one piece, or if it is a partlet and camicia...
> I am leaning towards partlet and camicia, but I wanted to know what you all
> thought...
> 
> http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg
> 
> Thanks!
> 
> Apollonia
> 
> Signora Apollonia Margherita degli Albizzi
> Kingdom of Atlantia
> www.livejournal.com/users/apollonia
> 
> **Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
> immane mittam.**
> 
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Subject: Re: [h-cost] Italian Camicia/partlet?
References: <GFEGKMCJKLPKIFGFNGDFEEELFFAA.apollonia@bellsouth.net> <5.1.0.14.2.20030114110819.00aabdd0@mail.attbi.com> <003b01c2bc01$f84780e0$4096fea9@CPQ21932199711>
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Date: Tue, 14 Jan 2003 20:54:31 -0700
Status: RO

Two necklines:
1.  The first comes up to her neck, and has the appearance of a collar
with a ruffle.  I've seen a number of these in all the genre paintings
of Flemish market women <g>.
2.  The second is seen/implied right where her cleavage and the bodice
connect--there's a bit of white there, as if she were wearing, maybe, a
square-necked smock.  There are a number of these combinations in other
paintings from the 16th c., so maybe that's why I'm seeing it.
It's more of a ruffle, than a separate ruff.  Although what I've read
about the clothing of the 16th c. (combined with my bad memory that
really needs a mug of tea and then bed!), leads me to remember/think
that separated ruffs evolved out of sewn-in ruffles, anyways.
--sue

Bjarne og Leif Drews wrote:
> 
> I have not followed this, but two necklines? I se a fold in the shirt, not
> another neckline.
> This picture is very interresting.
> I never thoaght that ruffs were attached to the shirt. I always thoaght it
> was a seperate garment.
> 
> Bjarne
>
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Wed, 15 Jan 2003 15:00:58 +1100
Status: RO

> From what I can see on my monitor (and not having a clue about Italian
> clothing) it looks like two part, there is a line down which looks like
the
> neck opening of the camicia, and then as if there were two collars, one
being
> the partlet.

I agree too.  One of the necklines is open when it meets the bodice by an
inch or two and the other neckline curves across just above the yellow
bodice.  That's what I see anyway.

Karen
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Date: Tue, 14 Jan 2003 18:07:29 -0500
Status: RO

Anahita asked:

>Second, is there a special technique for lining a garment AND putting in 
>facings, or vice versa? This is for the Ottomans. I've faced garments 
>before, but i don't recall ever fully lining anything with a bag lining, 
>so i've never put in both a facing and a lining in one garment.

I don't know about Ottomans, but I know that in modern suits, the lining 
fabric is cut smaller than the garment fabric, so that if the "inside" edge 
of the facing is sewn to the lining, it creates that full-sized "second 
garment". Then this is sewn to the outer garment along the "outside" edges 
(usually leaving either the hem, part of the hem, or part of a lining 
side-seam unsewn for pulling the garment back "right-side out")...


Brenda
webwarren@earthlink.net


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Date: Tue, 14 Jan 2003 22:55:28 -0600
Status: RO

Hi, all!

I will be working on a project for Costume Con 21 (starting as soon as we 
get back from Arisia), and there are two items I need for it that I've not 
found yet with a couple of evenings of Internet searches.
I'm looking for medium grey velvet.  It needs to be drapeable, so 
upholstery weight is not an option.  I found one site (velvetfabrics.com ?) 
with two colors of grey, but hope to find maybe one other, so I have a 
choice.  I don't need much, so it doesn't have to be super-cheap, but don't 
want to break the bank either.
The other is harder - I need a parasol or parasol frame, a la My Fair 
Lady.  IOW, not the tiny bridal parasols, but one suitable for that time 
period, that could have been used as a walking stick as well.  Ideally, it 
would be a sword-parasol, but I'm 99.99% sure I won't find that.  If I can 
get it in black, I wouldn't have to re-cover it, but a frame will do.  If I 
can't find one, I'll have to try to modify a regular umbrella frame.
For those of you with CC21 memberships, and have the Fashion Folio, I'm 
doing the Opening Night at the Midnight Ascots.  For everyone else, think 
My Fair Lady crossed with vampire mythology.

TIA,

Sandy

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda


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Subject: Re: [h-cost] Re: skiing in skirts
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Date: Wed, 15 Jan 2003 06:55:34 -0000
Status: RO

Have you tried this site for info ?

http://www.skiinghistory.org/Home.html

Mel

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From: kat@grendal.rain.com
To: h-costume@indra.com
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Subject: Re: [h-cost] Pinned on stomachers.
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Date: Tue, 14 Jan 2003 23:03:01 -0800
Status: RO


> On Tue, 14 Jan 2003, Saragrace Knauf wrote:
> 
> > Arnold states that stomachers show up as early as 1450. And then
> > goes on to say they were pinned on over a bodice.  She also says
> > they were not listed separately in the inventories and assumes they
> > were pinned on.  I was surprised by this.  I thought separate
> > stomachers showed up later (late 1600's) and were laced in under the
> > gown.

How odd that they would say that. According to _The Inventories of 
Henry VIII_ there are both placards (which is a plain fabric which 
would match the dress bodice) and stomachers (which are heavily 
embroidered.)

The placards sound like descriptions of the front of the dresses you 
see in Henry VIII's time such as worn by Jane Seymour which appear to 
be pinned. There is also another portrait, in a miniature (I think 
either Holbein or Terlinc, and I'm blanking on the sitter), who also 
has what appears to be a pinned-on front, but it's pinned on the 
other side. This would lead me to believe that they were pinned on 
both sides, but you would only see the pins on the side most easily 
viewed in the 3/4 view (as opposed to being able to see both sides if 
it were straight on.)

There sure were a lot of pins from those times and I know that I've 
found that they work great for stomachers (such as on my 1755 sack-
back dress I made many years ago for the Costume Con in Seattle.) 
I've worn my pinned on stomacher several times and I've never been 
"stuck" or had someone else be stuck by it. (Well, except when I'm 
trying to pin the thing on while wearing my wig already.)

As to pins, they actually come very small if needed. This past 
weekend I bought a "legal antiquity" from the 14-15th C (said to be a 
veil pin) which is as fine and small as one of my usual silk pins. 
(Unlike the other pins in my collection, which tend to be more like 
corsage pins in size. That size is more like what I've used on my 
stomachers.)

Kat Russell
<kat@grendal.rain.com>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Looking for stuff....
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Date: Wed, 15 Jan 2003 08:15:45 +0000 (GMT)
Status: RO

 --- Pierre & Sandy Pettinger <costumrs@radiks.net> 
> The other is harder - I need a parasol or parasol frame, a la My Fair 
> Lady.  IOW, not the tiny bridal parasols, but one suitable for that time 
> period, that could have been used as a walking stick as well.  Ideally, it 
> would be a sword-parasol, but I'm 99.99% sure I won't find that.  

Your best bet, from experience, might be eBay. I found some great Victorian and
later parasol frames there. Parasols that are complete are very expensive on
eBay, but if a frame will do you should be able to find something cheaply.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Wed, 15 Jan 2003 01:44:05 -0800 (PST)
Status: RO


Parasols:

http://www.barringtonbrolly.com/pages/Parasols.html

They make new, custom parasols.  Yes, some of them are suitable for
using as walking sticks.  Their prices run from about US$150 to about US$400
for the ones with sterling silver handles.  Reports from people who've 
bought there, yes it's quality work.  The only weirdness was that they told
a couple people they weren't interesting in catering to the "goth" crowd.
We don't know why, especially since no one was trying to dicker them down 
on price...

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: Tania Gruning <tania_gr17@yahoo.com>
Subject: Re: [h-cost] origin of words,  wheelfarthingale_ fishboneskirt.
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Hi Bjarne.

I am pretty certain that somebody in Denmark made a dictionary of all the danish words in the end of the 18'th beginning at the 17'th century.I just cannot remember what it is called. It is at least 20 books with all sorts of danish words. Ask your local librarian.

Tania



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<P>Hi Bjarne.</P>
<P>I am pretty certain that somebody in Denmark made a dictionary of all the danish words in the end of the 18'th beginning at the 17'th century.I just cannot remember what it is called. It is at least 20 books with all sorts of danish words. Ask your local librarian.</P>
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Date: Wed, 15 Jan 2003 06:09:14 -0500
Status: RO

Phoenix Textiles (www.fabric.com) has dove-gray cotton velveteen that loks
gorgeous.

Dianne
----- Original Message -----
From: "Pierre & Sandy Pettinger" <costumrs@radiks.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 14, 2003 11:55 PM
Subject: [h-cost] Looking for stuff....


> Hi, all!
>
> I will be working on a project for Costume Con 21 (starting as soon as we
> get back from Arisia), and there are two items I need for it that I've not
> found yet with a couple of evenings of Internet searches.
> I'm looking for medium grey velvet.  It needs to be drapeable, so
> upholstery weight is not an option.  I found one site (velvetfabrics.com
?)
> with two colors of grey, but hope to find maybe one other, so I have a
> choice.  I don't need much, so it doesn't have to be super-cheap, but
don't
> want to break the bank either.
> The other is harder - I need a parasol or parasol frame, a la My Fair
> Lady.  IOW, not the tiny bridal parasols, but one suitable for that time
> period, that could have been used as a walking stick as well.  Ideally, it
> would be a sword-parasol, but I'm 99.99% sure I won't find that.  If I can
> get it in black, I wouldn't have to re-cover it, but a frame will do.  If
I
> can't find one, I'll have to try to modify a regular umbrella frame.
> For those of you with CC21 memberships, and have the Fashion Folio, I'm
> doing the Opening Night at the Midnight Ascots.  For everyone else, think
> My Fair Lady crossed with vampire mythology.
>
> TIA,
>
> Sandy
>
> "Those Who Fail To Learn History
> Are Doomed To Repeat It;
> Those Who Fail To Learn History Correctly--
> Why They Are Simply Doomed."
>
> Achemdro'hm
> "The Illusion of Historical Fact"
> -- C.Y. 4971
>
> Andromeda
>
>
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Date: Wed, 15 Jan 2003 08:06:31 -0500
Status: RO

The date is 1580, the author Campi, and all of the pics can be found on the
web gallery of art here...

http://gallery.euroweb.hu/html/c/campi/vincenzo/index.html

Apollonia

Signora Apollonia Margherita degli Albizzi
Kingdom of Atlantia
www.livejournal.com/users/apollonia

**Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
immane mittam.**

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Tuesday, January 14, 2003 10:48 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Italian Camicia/partlet?


I'd say two separate items of clothing, especially since I can see a bit
of something (the camicia?) just where her cleavage meets the bodice
edge.
Great picture, by the way! What's the date on it?
--Sue, who also likes the decorated apron <g>

Signora Apollonia Margherita degli Albizzi wrote:
>
> I am in the process of making this dress and camicia and am stumped as to
> whether the camicia is all one piece, or if it is a partlet and camicia...
> I am leaning towards partlet and camicia, but I wanted to know what you
all
> thought...
>
>
http://homepage.mac.com/festive_attyre/research/workdiary/images/3campi.jpg
>
> Thanks!
>
> Apollonia
>
> Signora Apollonia Margherita degli Albizzi
> Kingdom of Atlantia
> www.livejournal.com/users/apollonia
>
> **Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum
> immane mittam.**
>
> _______________________________________________
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From h-costume-admin@indra.com  Wed Jan 15 08:42:38 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 07:54:04 -0600 (CST)
Status: RO


On Tue, 14 Jan 2003 kat@grendal.rain.com wrote:

> > > Arnold states that stomachers show up as early as 1450. And then
> > > goes on to say they were pinned on over a bodice.  She also says
> > > they were not listed separately in the inventories and assumes they
> > > were pinned on.
> 
> How odd that they would say that. According to _The Inventories of 
> Henry VIII_ there are both placards (which is a plain fabric which 
> would match the dress bodice) and stomachers (which are heavily 
> embroidered.)

Hmm, the Henry VIII inventories were published for the mass market only
very recently. I don't know what state/collection the original has been in
all these years. Does Arnold mention it at all? It's possible she never
saw it before writing QEWU. It would be odd, though, for stomachers not to
be mentioned still in Elizabeth's accounts, so soon afterward. Or by
saying they were "not listed separately," did she mean they were listed,
but only as part of a dress/outfit, rather than as an independent
accessory? Been a long time since I've looked at that part of the book.

--Robin


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Subject: Re: [h-cost] Cool Fabric Site
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Date: Wed, 15 Jan 2003 08:54:08 -0500
Status: RO

Margo,

They have some really neat fabric.  I looked at the dragon section too.  I
was looking for Japanese dragons.

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: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 07:18:04 -0700
Status: RO

You sum up my understanding of it pretty much.  This brings up another
interesting construction question.  If the stomachers were generally
pinned on on dresses like the later Elizabethan (where the point goes
well below the waist), how were the gowns constructed?  Was the bodice
attached and laced up the front?  Or where the skirts of the over gown
also separate from the bodice? I guess the lacing question still is the
same.

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Robin Netherton
>Sent: Tuesday, January 14, 2003 3:08 PM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Pinned on stomachers.
>
>
>On Tue, 14 Jan 2003, Saragrace Knauf wrote:
>
>> Arnold states that stomachers show up as early as 1450. And then goes
>> on to say they were pinned on over a bodice.  She also says they were
>> not listed separately in the inventories and assumes they were pinned
>> on.  I was surprised by this.  I thought separate stomachers showed
up
>> later (late 1600's) and were laced in under the gown.
>
>1450 is a little early for what I would call a "stomacher" in the
>Elizabethan sense, but it's close to date for the placket that goes
behind
>the lacing in the V-necked "Burgundian" robes of the last half of the
>1400s. Best guess is that these were pinned in. Perhaps that's what
Arnold
>meant?
>
>Some later 15th-century dresses have wide-gapped lacings that come down
in
>a U shape to the belly, over a solid fabric that may have been an
>undergown or may have been a separate piece; this might be a better
>candidate for the term "stomacher," though I would not personally have
>thought of calling them that. (We had a thread about these dresses a
>couple of months ago. They tend to appear on young girls and nubile
>saints.)
>
>I have no idea of the period term for these 15th-century insets; in
modern
>books, they're often called "plackets" or "pieces" (accent grave over
the
>first e).
>
>--Robin
>
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Date: Wed, 15 Jan 2003 09:38:15 -0500
Status: RO



>>
You sum up my understanding of it pretty much.  This brings up another
interesting construction question.  If the stomachers were generally
pinned on on dresses like the later Elizabethan (where the point goes
well below the waist), how were the gowns constructed?  Was the bodice
attached and laced up the front?  Or where the skirts of the over gown
also separate from the bodice? I guess the lacing question still is the
same.

Sg
>>

When  I went and looked at the life size (and some larger) paintings from
this era, it appeared to me that the stomachers were not pinned on top of
the bodice like earlier versions were.  The edges of the stomacher fall
under the edges of the bodice - like later period gowns that use stomachers
do.  The gown is constructed to open in front with a deep V left completely
open, to be filled in by the stomacher.  I did find textual support for
this, but I'm at work and my research is not....  The stomacher is pinned
(or tied, or hook & eyed - all methods mentions in QEWU in reference to the
stomachers which are listed in the inventories and accounts) to the edges
of the gown and, from experience, this arrangement is very secure and looks
like the portraits, while stomachers pinned on top of a bodice don't.


The stomacher is an item that changes dramatically in shape and usage over
time - it's basic function remains the same, but the way it is utilized
does not.


Elizabeth/Dulcia


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Date: Wed, 15 Jan 2003 09:47:56 -0500
Status: RO


Bjarne:

First, HAPPY BIRTHDAY! I hope you had a good steak dinner. We will make a
birthday toast to you tonight with our roast!

Second, I think you are right. Your customer should not have told you she
was in such a hurry for the dress if she really wasn't. She was rude to
think only of herself, not of you and not of your other customers.

My husband now owns a business, and unfortunately people act that way all
the time!

Gail Finke


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Date: Wed, 15 Jan 2003 07:52:54 -0700
Status: RO

I used to wonder how one pinned through all those stiff layers....
And then, I saw a couple of (18th c???) stomachers that had these little
tabs sticking out.....<g>
I've seen a couple of people try the stomacher-pinned-to-the-outside on
their gowns, and it's always looked fairly awkward, and not at all like
the ones in the paintings (this includes the one I did once).  I'm
wondering if that isn't because of the stiffening methods used?
--sue
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 15:13:14 +0000 (GMT)
Status: RO

 --- Sue Clemenger <mooncat@in-tch.com> wrote: > I used to wonder how one
pinned through all those stiff layers....
> And then, I saw a couple of (18th c???) stomachers that had these little
> tabs sticking out.....<g>
> I've seen a couple of people try the stomacher-pinned-to-the-outside on
> their gowns, and it's always looked fairly awkward, and not at all like
> the ones in the paintings (this includes the one I did once).  I'm
> wondering if that isn't because of the stiffening methods used?

The way I pin on the stomacher for my mantua is as follows: Yes, the stomacher
has inen tabs, just like all he surviving stomachers I ave seen. Thus you pin
through those (horizontal) and the top layer of fabric. Don't try to pin
through any boning! :-)
The stomacher isn't pinned quite to the outside of the gown, because the folds
go over the pns. (ack! I am at  aloss for English words here!) I hope you can
imagine those sides being folded back, they cover the pins and the tabs. Then I
usually carefully pin the folds down at a couple of points just to make sure.
The pins are mostly hidden by the fabric then.

Uhm... does it make sense?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Re: Costume Maker's Art
To: h-costume@indra.com
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Date: Wed, 15 Jan 2003 07:42:34 -0800 (PST)
Status: RO


--- Heather Meadows <alice@wonderland.com> wrote:
> What makes this book so wonderful..?
> 
> (just what I need, one more thing to want)

Heather, what makes this book so cool and spiff to own
(or at least look at from the library) is that it is
full of pictures of costumers in their creations, with
bios and a forward about how costuming started rolling
at conventions (SF).

For me, I know some of the costumers, some even know
me (*lol*) and others I may not know, but I saw the
performances when the costumes were presented.  There
are close-up shots of some detail work on a few of the
pieces too so that you can see the workmanship.

My co-workers laughed as I turned the pages,
exclaiming at friends or drooling over newer pieces,
especially as I kept saying "I wanna be that good when
I grow up!"  Helps to listen here, brings up my
standards and knowledge.  Same reason why I liked
hanging out with a couple of my fannish friends in
LA--I got to have input from two of the folks in the
book, and they helped me learn and grow.  

Angharat



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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 08:52:05 -0700
Status: RO

Arnold discusses different "styles" some which were stiffened with paste
bourde and others just lined with fustian or sarconett.  

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Sue Clemenger
>Sent: Wednesday, January 15, 2003 7:53 AM
>To: h-costume@indra.com
>Subject: Re: [h-cost] Pinned on stomachers.
>
>I used to wonder how one pinned through all those stiff layers....
>And then, I saw a couple of (18th c???) stomachers that had these
little
>tabs sticking out.....<g>
>I've seen a couple of people try the stomacher-pinned-to-the-outside on
>their gowns, and it's always looked fairly awkward, and not at all like
>the ones in the paintings (this includes the one I did once).  I'm
>wondering if that isn't because of the stiffening methods used?
>--sue
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Pinned on stomachers-attachment methods
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Date: Wed, 15 Jan 2003 08:53:42 -0700
Status: RO

I should be more specific-she discusses attachment methods from other
sources but not from the warrants themselves.

Sg


>-----Original Message-----
>From: Saragrace Knauf [mailto:saragrace@earthlink.net]
>Sent: Wednesday, January 15, 2003 8:48 AM
>To: 'h-costume@indra.com'
>Subject: RE: [h-cost] Pinned on stomachers.
>
>If you have time when you get home could you direct me to where Arnold
discusses
>this in more detail.  The only mention of it I found was where she said
the method of
>attachment isn't discussed and therefore she 'assumed' they were
pinned.
>
>I don't have access to the full sized portraits, but I would agree they
don't look
>pinned on the top.
>
>Does anyone know of a picture where it does look like they are pinned
on top?
>(Besides the ones already discussed where you only see one side of the
pinning)
>
>Sg
>
>
>>-----Original Message-----
>>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>>Behalf Of sweetsheep@earthlink.net
>>Sent: Wednesday, January 15, 2003 7:38 AM
>>To: h-costume@indra.com
>>Subject: RE: [h-cost] Pinned on stomachers.
>>
>>
>>
>>>>
>>You sum up my understanding of it pretty much.  This brings up another
>>interesting construction question.  If the stomachers were generally
>>pinned on on dresses like the later Elizabethan (where the point goes
>>well below the waist), how were the gowns constructed?  Was the bodice
>>attached and laced up the front?  Or where the skirts of the over gown
>>also separate from the bodice? I guess the lacing question still is
the
>>same.
>>
>>Sg
>>>>
>>
>>When  I went and looked at the life size (and some larger) paintings
from
>>this era, it appeared to me that the stomachers were not pinned on top
of
>>the bodice like earlier versions were.  The edges of the stomacher
fall
>>under the edges of the bodice - like later period gowns that use
stomachers
>>do.  The gown is constructed to open in front with a deep V left
completely
>>open, to be filled in by the stomacher.  I did find textual support
for
>>this, but I'm at work and my research is not....  The stomacher is
pinned
>>(or tied, or hook & eyed - all methods mentions in QEWU in reference
to the
>>stomachers which are listed in the inventories and accounts) to the
edges
>>of the gown and, from experience, this arrangement is very secure and
looks
>>like the portraits, while stomachers pinned on top of a bodice don't.
>>
>>
>>The stomacher is an item that changes dramatically in shape and usage
over
>>time - it's basic function remains the same, but the way it is
utilized
>>does not.
>>
>>
>>Elizabeth/Dulcia
>>
>>
>>--------------------------------------------------------------------
>>mail2web - Check your email from the web at
>>http://mail2web.com/ .
>>
>>
>>
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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 08:48:27 -0700
Status: RO

If you have time when you get home could you direct me to where Arnold
discusses this in more detail.  The only mention of it I found was where
she said the method of attachment isn't discussed and therefore she
'assumed' they were pinned.

I don't have access to the full sized portraits, but I would agree they
don't look pinned on the top.

Does anyone know of a picture where it does look like they are pinned on
top?  (Besides the ones already discussed where you only see one side of
the pinning)

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of sweetsheep@earthlink.net
>Sent: Wednesday, January 15, 2003 7:38 AM
>To: h-costume@indra.com
>Subject: RE: [h-cost] Pinned on stomachers.
>
>
>
>>>
>You sum up my understanding of it pretty much.  This brings up another
>interesting construction question.  If the stomachers were generally
>pinned on on dresses like the later Elizabethan (where the point goes
>well below the waist), how were the gowns constructed?  Was the bodice
>attached and laced up the front?  Or where the skirts of the over gown
>also separate from the bodice? I guess the lacing question still is the
>same.
>
>Sg
>>>
>
>When  I went and looked at the life size (and some larger) paintings
from
>this era, it appeared to me that the stomachers were not pinned on top
of
>the bodice like earlier versions were.  The edges of the stomacher fall
>under the edges of the bodice - like later period gowns that use
stomachers
>do.  The gown is constructed to open in front with a deep V left
completely
>open, to be filled in by the stomacher.  I did find textual support for
>this, but I'm at work and my research is not....  The stomacher is
pinned
>(or tied, or hook & eyed - all methods mentions in QEWU in reference to
the
>stomachers which are listed in the inventories and accounts) to the
edges
>of the gown and, from experience, this arrangement is very secure and
looks
>like the portraits, while stomachers pinned on top of a bodice don't.
>
>
>The stomacher is an item that changes dramatically in shape and usage
over
>time - it's basic function remains the same, but the way it is utilized
>does not.
>
>
>Elizabeth/Dulcia
>
>
>--------------------------------------------------------------------
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From: kat@grendal.rain.com
To: h-costume@indra.com
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Date: Wed, 15 Jan 2003 08:22:54 -0800
Status: RO


> > How odd that they would say that. According to _The Inventories of
> > Henry VIII_ there are both placards (which is a plain fabric which
> > would match the dress bodice) and stomachers (which are heavily
> > embroidered.)
> 
> Hmm, the Henry VIII inventories were published for the mass market
> only very recently. I don't know what state/collection the original
> has been in all these years. Does Arnold mention it at all? It's
> possible she never saw it before writing QEWU.

I suspect she hadn't seen them prior to writing QEWU since it was 
written well before the "Inventory" project was started. She was 
scheduled to be the one in charge of writing the section for one of 
the later volumes (on clothing and textiles, of course). However, the 
project was cancelled (or at least put on hold) because of finances.

 It would be odd,
> though, for stomachers not to be mentioned still in Elizabeth's
> accounts, so soon afterward. Or by saying they were "not listed
> separately," did she mean they were listed, but only as part of a
> dress/outfit, rather than as an independent accessory? Been a long
> time since I've looked at that part of the book.

Same here. (However, I spend *lots* of time with the H8 Inventories.)

Kat Russell
<kat@grendal.rain.com>

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Subject: Re: [h-cost] Pinned on stomachers.
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Date: Wed, 15 Jan 2003 13:11:02 -0500
Status: RO

On Wed, 15 Jan 2003 07:54:04 -0600 (CST) Robin Netherton
<robin@shell.nightowl.net> wrote:

> Hmm, the Henry VIII inventories were published
> for the mass market only
> very recently. 

1995, I think. Boydell & Brewer currently owns the option to publish the
projected Volumes 2 and 3 (articles & photos; vol.1 is the written
inventories).

>I don't know what
> state/collection the original has been in
> all these years. Does Arnold mention it at all?
> It's possible she never
> saw it before writing QEWU. 

I know she did see it at one point, since she was supposed to write an article
for the Volume 2 or 3 that we've all been waiting for... 

I asked B&B about it at Kalamazoo last year and they said (with
rolling-the-eyes patience) that they would be happy to publish these, just as
soon as the author lets them have the manuscripts.....

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Date: Wed, 15 Jan 2003 13:52:14 EST
Status: RO

Belated Happy Birthday Bjarne---and I think that tonight we shall have steak  
aux poivre and toast your health in a good  red wine, as well!!
Many Happy Returns !!!
Albra
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Date: Wed, 15 Jan 2003 13:57:40 -0500
Status: RO

        How cruel you are!.  I love Laurel Burch cats and they have TONS
of them!

Lalah
Never give up, Never surrender
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Date: Wed, 15 Jan 2003 15:25:43 -0500
Status: RO

        Bjarne, I am afraid I have not done a lot of traveling.  I did
manage to get to Rome, Naples (didn't care for Naples), Venice and Zurich
about ten years ago, but that, along with some Caribbean cruises is about
the extent of it.  I had hoped to go to Scotland with a friend, but she
suddenly came down with a brain cancer and died within weeks several
years ago.  

        As to your sexual orientation, I don't see that as much of any
one's business but yours.  I worked at Epcot (Walt Disney World) for four
years and some of my best buddies were gay.  One guy that I went through
training with said that neither of us was ever going to get to be a
supervisor because he was gay and I was gray.  I always liked the way he
put that.  I am about as straight as they come myself, but don't much
think that is anyone's business either.  I prefer to have friends who are
bright and talented and fun to be with rather than pick them by their
color or religion or sexual preferences.  OK, enough of that particular
soap box.

        I am so much in such awe of your beautiful work that I would love
to be able to travel just to see it in person.  I am 68 and have been
sewing all my life (well since I was about five anyhow) and much as I
love it and as much as I have done, I have never created anything like
the fantastic garments that you produce.  You are such an inspiration. 
Thank YOU!

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Wed, 15 Jan 2003 15:44:01 -0500
Status: RO

I don't know, I want to see what Bjarne can do with them, but at the same
time I don't want to see... because what he does will always be SO BEAUTIFUL
I won't have the heart to try for myself after seeing his work :-)

Bjarne, you're an inspiration...

From: "Margo Anderson" <margo@margospatterns.com>
> At 08:35 PM 01/14/2003 +0100, Bjarne og Leif Drews wrote:
>
> >Next year i want to order Margos Patterns and then i want to start
> >rennaissance.................
>
> I can't WAIT to see what you do with them, Bjarne!  and Happy Birthday!
>
> Margo
> "One Tough Costumer"
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Subject: Re: [h-cost] Looking for stuff....
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Date: Wed, 15 Jan 2003 12:45:32 -0800
Status: RO

--=====================_15209109==.ALT
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At 10:55 PM 1/14/2003 -0600, you wrote:
>Hi, all!
>
>I will be working on a project for Costume Con 21 (starting as soon as we 
>get back from Arisia), and there are two items I need for it that I've not 
>found yet with a couple of evenings of Internet searches.
>
>The other is harder - I need a parasol or parasol frame, a la My Fair 
>Lady.  IOW, not the tiny bridal parasols, but one suitable for that time 
>period, that could have been used as a walking stick as well.  Ideally, it 
>would be a sword-parasol, but I'm 99.99% sure I won't find that.  If I can 
>get it in black, I wouldn't have to re-cover it, but a frame will do.  If 
>I can't find one, I'll have to try to modify a regular umbrella frame.

Finding a sturdy parasol frame longer then 35" is getting harder and harder 
and I watch the ebay parasol auctions like a hawk >; )

These might be too flimsy 
http://home.earthlink.net/~gchristen/Parasols.html. I've been looking at 
them and wondering if anyone on this list has dealt with the merchant.

I was loathe to use my antiques for everyday use so for my "Goth" umbrella, 
I picked up a black battenburg inexpensively off Ebay. The plan is to cut 
off the handle at a mid-section and then turn a new, longer handle on a 
lathe and add some silver work to the cap section and handle. The parasol 
and handle would be rejoined using counter sunk threaded findings. Many of 
the old parasols used this method.

If that is too time consuming, you can still chop the handle off a cheaper 
parasol and shop for a nice vintage handle that will be long enough.


>For those of you with CC21 memberships, and have the Fashion Folio, I'm 
>doing the Opening Night at the Midnight Ascots.  For everyone else, think 
>My Fair Lady crossed with vampire mythology.

Sounds like my valentine's day dress project.

>TIA,
>
>Sandy
>
>"Those Who Fail To Learn History
>Are Doomed To Repeat It;
>Those Who Fail To Learn History Correctly--
>Why They Are Simply Doomed."
>
>Achemdro'hm
>"The Illusion of Historical Fact"
>-- C.Y. 4971
>
>Andromeda

Gwyn Carnegie
University of California at Davis  
--=====================_15209109==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
At 10:55 PM 1/14/2003 -0600, you wrote:<br>
<blockquote type=cite class=cite cite>Hi, all!<br><br>
I will be working on a project for Costume Con 21 (starting as soon as we
get back from Arisia), and there are two items I need for it that I've
not found yet with a couple of evenings of Internet searches.<br><br>
The other is harder - I need a parasol or parasol frame, a la My Fair
Lady.&nbsp; IOW, not the tiny bridal parasols, but one suitable for that
time period, that could have been used as a walking stick as well.&nbsp;
Ideally, it would be a sword-parasol, but I'm 99.99% sure I won't find
that.&nbsp; If I can get it in black, I wouldn't have to re-cover it, but
a frame will do.&nbsp; If I can't find one, I'll have to try to modify a
regular umbrella frame.</blockquote><br>
Finding a sturdy parasol frame longer then 35&quot; is getting harder and
harder and I watch the ebay parasol auctions like a hawk &gt;; 
)<br><br>
These might be too flimsy
<a href="http://home.earthlink.net/~gchristen/Parasols.html" eudora="autourl">http://home.earthlink.net/~gchristen/Parasols.html</a>.
I've been looking at them and wondering if anyone on this list has dealt
with the merchant.<br><br>
I was loathe to use my antiques for everyday use so for my
&quot;Goth&quot; umbrella, I picked up a black battenburg inexpensively
off Ebay. The plan is to cut off the handle at a mid-section and then
turn a new, longer handle on a lathe and add some silver work to the cap
section and handle. The parasol and handle would be rejoined using
counter sunk threaded findings. Many of the old parasols used this
method. <br><br>
If that is too time consuming, you can still chop the handle off a
cheaper parasol and shop for a nice vintage handle that will be long
enough.<br><br>
<br>
<blockquote type=cite class=cite cite>For those of you with CC21
memberships, and have the Fashion Folio, I'm doing the Opening Night at
the Midnight Ascots.&nbsp; For everyone else, think My Fair Lady crossed
with vampire mythology.</blockquote><br>
Sounds like my valentine's day dress project. <br><br>
<blockquote type=cite class=cite cite>TIA,<br><br>
Sandy<br><br>
&quot;Those Who Fail To Learn History<br>
Are Doomed To Repeat It;<br>
Those Who Fail To Learn History Correctly--<br>
Why They Are Simply Doomed.&quot;<br><br>
Achemdro'hm<br>
&quot;The Illusion of Historical Fact&quot;<br>
-- C.Y. 4971<br><br>
Andromeda</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis 
</font></b></body>
</html>

--=====================_15209109==.ALT--

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Subject: Re: [h-cost] origin of words,  wheelfarthingale_ fishboneskirt.
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Date: Wed, 15 Jan 2003 12:10:55 -0800
Status: RO

At 1:28 AM -0800 1/15/03, Tania Gruning wrote:
>Hi Bjarne.
>
>I am pretty certain that somebody in Denmark made a dictionary of 
>all the danish words in the end of the 18'th beginning at the 17'th 
>century.I just cannot remember what it is called. It is at least 20 
>books with all sorts of danish words. Ask your local librarian.

Well, there's:

Kalkar, Otto.  1881.  Ordbog til det AEldre Danske Sprog (1300-1700) 
5v..  Thieles Bogtrykkeri, Kobenhavn.

Only five volumes, not 20, but otherwise it sounds exactly like your 
description.  I own the set, so I could look things up, if desired.

(Hey, don't ask me what I'm doing with a five volume dictionary of 
Old Danish ... it was there in the bookstore, so I bought it. 
Wouldnt' you?  The startling thing is that I've actually used it half 
a dozen times ... well, ok, given my hobbies, maybe not quite _that_ 
startling.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: Re: [h-cost] Authentic pronunciations
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Date: Wed, 15 Jan 2003 16:25:19 -0500
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> 
> From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> Date: 2003/01/14 Tue AM 10:19:14 EST
> To: <h-costume@indra.com>
> Subject: Re: Re: [h-cost] Authentic pronunciations
> 
> Yes, Richard Scollins is a British dialect expert; he co-wrote a book called "Ey up, mi duck" about the East Midlands dialect. I can't trace "O for a muse of foyre" in my sources here, but guess from the title that it was an attempt to reproduce the original pronunciation of Shakespeare's plays.
> 
> 
> 
   As I recall it was created for the English Civil War re-enactment crowd, though I may recall wrong it has been years since I heard it.  I do know that it uses "The Muse of Fire" speech as an example, but it also uses the 23rd Psalm.

Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Date: Wed, 15 Jan 2003 13:47:09 -0800
Status: RO

>
> If that is too time consuming, you can still chop the handle off a cheaper
>parasol and shop for a nice vintage handle that will be long enough.
>
>The props person on a production of Charley's aunt that I worked on made
soem nice parosol handles out of brass curtain rods, the kind with fancy
finials on the ends.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From: <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] Authentic pronunciations
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Date: Wed, 15 Jan 2003 16:44:15 -0500
Status: RO


> 
> From: leigh tartaglio <mikes@dandy.net>
> Date: 2003/01/12 Sun AM 12:30:42 EST
> To: h-costume@indra.com
> Subject: Re: [h-cost] Authentic pronunciations
> 
> Hi. If the tape was done by Stuart Peachey and his folks, Terry and Raff (Sykes) may be able to acquire it for you, as they are the main importer to the US of Stuart's material. If it was produced specifically for PP, though, you'd have to try their online giftshop. Good Luck, Mike T.  PS Another good knowlegeable resource is Dr, Jeff Forgang (used to be Singman), a curator at the Higgins Armor Museum in Worcester, Mass. MJT
> 
> 
> 

Sykes does have the tape.  It can be found at 

http://sykesutler.home.att.net/stuart.htm

Cheers,
Ron

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Subject: RE: [h-cost] Cool Fabric Site-another
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Date: Wed, 15 Jan 2003 15:05:06 -0700
Status: RO


>        How cruel you are!.  I love Laurel Burch cats and they have
TONS
>of them!
 
That's me! Fabric Cruel and LB cat lover!!

Sg

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Subject: [h-cost] important old master paintings
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Date: Wed, 15 Jan 2003 17:19:02 -0500
Status: RO

There  is a VERY large auction up online at Sotheby's, with paintings that
date back to the 1400s.   I haven't made it past the first 5 pages.   I
have, of course, been admiring the ones that have people - like the BACK of
a lady playing an instrument!    There are some famous ones in there,  and I
have been finding it fascinating.    Especially since they are nice enough
to not only let you clickon the thumbnail to see a larger one, they let you
click on enlarge so you can see a really nice size!
Rowena

Sotheby's Auctions » Calendar »

important old master paintings including european works of art

http://search.sothebys.com/jsps/live/event/EventDetail.jsp?event_id=25936




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Date: Wed, 15 Jan 2003 16:52:54 -0600
Status: RO

Lot# 32: *SIR PETER PAUL RUBENS (1577-1640), A FISHERMAN IN A FRISIAN HAT
AND A PEASANT WOMAN EMBRACING

I swear you can see a draw string on that neckline, and a seam on the back
side. These are great pictures!

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: "Rowena" <sleepyunicorn@citlink.net>
To: <h-costume@indra.com>
Sent: Wednesday, January 15, 2003 4:19 PM
Subject: [h-cost] important old master paintings


> There  is a VERY large auction up online at Sotheby's, with paintings that
> date back to the 1400s.   I haven't made it past the first 5 pages.   I
> have, of course, been admiring the ones that have people - like the BACK
of
> a lady playing an instrument!    There are some famous ones in there,  and
I
> have been finding it fascinating.    Especially since they are nice enough
> to not only let you clickon the thumbnail to see a larger one, they let
you
> click on enlarge so you can see a really nice size!
> Rowena
>
> Sotheby's Auctions » Calendar »
>
> important old master paintings including european works of art
>
> http://search.sothebys.com/jsps/live/event/EventDetail.jsp?event_id=25936
>
>
>
>
> _______________________________________________
> 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 Jan 15 18:35:32 2003
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Date: Wed, 15 Jan 2003 15:36:22 -0800
Status: RO

To Rowena-

Thanks for the heads up on this incredible treasure trove.  Some of the 
portraits have been duly transfered to my archives!!!

If you had a choice (and a few bucks), which one would _you_ go for?

I'd pick this one:
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?sale_number=N07871&live_lot_id=133&go.x=11&go.y=12

(If the link doesn't work, it's lot #133).

Thanks for the tour through the Old Masters,

Theresa Eacker
Rowena wrote:

> There  is a VERY large auction up online at Sotheby's, with paintings that
> date back to the 1400s.   I haven't made it past the first 5 pages.   I
> have, of course, been admiring the ones that have people - like the BACK of
> a lady playing an instrument!    There are some famous ones in there,  and I
> have been finding it fascinating.    Especially since they are nice enough
> to not only let you clickon the thumbnail to see a larger one, they let you
> click on enlarge so you can see a really nice size!
> Rowena
> 
> Sotheby's Auctions » Calendar »
> 
> important old master paintings including european works of art
> 
> http://search.sothebys.com/jsps/live/event/EventDetail.jsp?event_id=25936


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From h-costume-admin@indra.com  Wed Jan 15 18:40:06 2003
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Subject: [h-cost] Fabric identification...
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Date: Wed, 15 Jan 2003 18:40:57 -0500
Status: RO

Hi,

There is never anything interesting at my local fabric store, usually, but
as I was walking around getting acquainted with their new disposition of
fabrics, I spotted a roll on the discount shelves that screamed *linen*...
2,50$ CDN a meter. (That would be around 1.60 USD for a little more than a
yard). Labeled "unknown fibers". It's bright pink, that almost fuchsia
Barbie-pink annoying color but, if it's really linen, it can be dyed.

I walked home with a swatch. Burn tested it. Steady flame, embers slow to
extinguish, natural fiber smell, but most interesting of all, powdery
blackish ash... Could it be something other than linen? It acts like linen,
it feels like linen, it's woven like linen, it burns like linen... Something
else I should try? Or should I be happy with that and rush to buy the roll
next thing tomorrow morning? :-)

I have to say, all of this is your fault, you wonderful folks on this
list... You taught me about discount shelves, burn testing, and dyeing...
among other things :-) I'm so happy to be here...
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From h-costume-admin@indra.com  Wed Jan 15 18:58:45 2003
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Subject: RE: [h-cost] Fabric identification...
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Date: Wed, 15 Jan 2003 17:47:13 -0600
Status: RO

Audrey, does it wrinkle like linen?

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Audrey Bergeron-Morin
Sent: Wednesday, January 15, 2003 5:41 PM
To: h-costume@indra.com
Subject: [h-cost] Fabric identification...

Hi,

There is never anything interesting at my local fabric store, usually,
but
as I was walking around getting acquainted with their new disposition of
fabrics, I spotted a roll on the discount shelves that screamed
*linen*...
2,50$ CDN a meter. (That would be around 1.60 USD for a little more than
a
yard). Labeled "unknown fibers". It's bright pink, that almost fuchsia
Barbie-pink annoying color but, if it's really linen, it can be dyed.

I walked home with a swatch. Burn tested it. Steady flame, embers slow
to
extinguish, natural fiber smell, but most interesting of all, powdery
blackish ash... Could it be something other than linen? It acts like
linen,
it feels like linen, it's woven like linen, it burns like linen...
Something
else I should try? Or should I be happy with that and rush to buy the
roll
next thing tomorrow morning? :-)

I have to say, all of this is your fault, you wonderful folks on this
list... You taught me about discount shelves, burn testing, and
dyeing...
among other things :-) I'm so happy to be here...
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Date: Wed, 15 Jan 2003 19:08:21 -0500
Status: RO

Yep.

I'm curious - if it didn't, what could it be?

----- Original Message ----- 
From: "Kim Baird" <kbaird@cableone.net>

> Audrey, does it wrinkle like linen?
> 
> Kim
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This is a multi-part message in MIME format.

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Gwyn,

You asked about gchristen/Parasols.html....She is a wonderful person!!!

Linda Sterner

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From h-costume-admin@indra.com  Wed Jan 15 20:56:34 2003
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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
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Subject: Re: [h-cost] Fabric identification...
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Date: Wed, 15 Jan 2003 19:57:18 -0600 (CST)
Status: RO


What store is it?  I got a couple yards of a heavy weight barbie-pink
linen at Hancocks not long ago.  Mine was labled, and I haven't had any
reason to believe it was mis-marked.  I haven't had too much luck
bleaching it, but I haven't really tried, either.  I'm intending to use it
for flatlining, so the color doesn't matter much, as long as it isn't
going to bleed.

> There is never anything interesting at my local fabric store, usually, but
> as I was walking around getting acquainted with their new disposition of
> fabrics, I spotted a roll on the discount shelves that screamed *linen*...
> 2,50$ CDN a meter. (That would be around 1.60 USD for a little more than a
> yard). Labeled "unknown fibers". It's bright pink, that almost fuchsia
> Barbie-pink annoying color but, if it's really linen, it can be dyed.

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Theresa--
Well I have decided on at least one so far; Lot #12.
"A WOMAN MAKING LACE WITH
A SMALL CHILD BESIDE HER" by Quiringh Gerritsz
Van Brekelenkam..
http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXQV

Just wondering, who is the target market for paintings of this
caliber/price ($80-100k)? Will private collectors still shell out
that kind of scratch for art in this sketchy economy?
I mean, I guess if I had the dough, there is absolutely no question
I would buy Lot #12, SO I guess I just answered my own question.
Just rambling, sorry...
Lisa-Deb R.

> If you had a choice (and a few bucks), which one would _you_ go for?
> I'd pick this one:
> http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?sale_number=N07871&live_lot_id=133&go.x=11&go.y=12

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<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>
Theresa--
<br>Well I have decided on at least one so far; Lot #12.
<br>"A WOMAN MAKING LACE WITH
<br>A SMALL CHILD BESIDE HER" by Quiringh Gerritsz
<br>Van Brekelenkam..
<br><A HREF="http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXQV">http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXQV</A>
<p>Just wondering, who is the target market for paintings of this
<br>caliber/price ($80-100k)? Will private collectors still shell out
<br>that kind of scratch for art in this sketchy economy?
<br>I mean, I guess if I had the dough, there is absolutely no question
<br>I would buy Lot #12, SO I guess I just answered my own question.
<br>Just rambling, sorry...
<br>Lisa-Deb R.
<blockquote TYPE=CITE>If you had a choice (and a few bucks), which one
would _you_ go for?
<br>I'd pick this one:
<br><a href="http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?sale_number=N07871&live_lot_id=133&go.x=11&go.y=12">http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?sale_number=N07871&amp;live_lot_id=133&amp;go.x=11&amp;go.y=12</a></blockquote>
</html>

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Subject: Re: [h-cost] early 1400s Italian shirt questions/protection
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Date: Wed, 15 Jan 2003 22:36:11 -0500
Status: RO

Hi, All. Robin has gotten my point on this (not to be punny), that I did not
intend to discuss the relative merits of a shirt as protection on this list. A
shirt is, in fact, a shirt and is not intended as practical combat outerwear
any more than the obvious protection it provides against the odd brushburn,
etc.  I was reacting to the obvious concern another listmember espoused,
concerned that the shirt was in some way being suggested as either the only,
or in the least the primary source of protection against weapons both practice
and other. Robin, I apologise that my sources were not specifically Italian.
It is my not-so-terribly studied belief that there was not a predominantly
Italian cut to shirts at this time, as opposed to, say, German, Flemish or
English, although study could indeed prove me incorrect. In fact, I welcome
any knowledge that might come out of this line of inquiry. Cheers, Mike T.



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Subject: Re: [h-cost] interlibrary loan
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Date: Thu, 2 Jan 2003 10:44:09 -0600
Status: RO

Heather:

Contact your local library to borrow out-of-print books on Worth through
interlibrary loan. Diane De Marly authored a book on Worth about 1980. The
book(which I own): The Opulent Era has a large section on the House of
Worth, also. Lots of color pics(Yummers!)Your reference dept at your local
library can also do a search on OCLC or FirstSearch on Worth.

Good luck.

Cindy Abel, ILL Coordinator
Creighton Univ Health Sciences Library
brujne@creighton.edu
----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: <h-costume@indra.com>
Sent: Thursday, January 02, 2003 9:55 AM
Subject: [h-cost] interlibrary loan


>
>
> Does anyone (Kendra?) know where a good starter guide to using
> interlibrary loan is online?  I'd really like to try to find copies
> of some of the out of print books on Worth, since I'm going to be
> creating an 1880s dress in his style for class this year.
>
> .heather.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Fri, 3 Jan 2003 15:07:05 -0800
Status: RO

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I once belonged to a very confident and pedantic group of experienced =
re-enactors, mostly people who worked in museums and for a very short =
while I too had a great deal of confidence in the fact that I was doing =
things right.  Sophomoric is the word that readily comes to mind.  But =
what changed things was hosting a Thanksgiving Dinner in Australia for =
my co-workers.  Being American, I had the history, the trappings, the =
right food, decorations and even a video of the Thanksgiving day parade =
and whatever bowl game followed. The problem of course was as much as =
they tried, my Australian friends just didn't have the background to say =
the right things, at the right time or know the layers of meaning behind =
the rituals, plus, no one there liked pumpkin pie.  It was a great =
party, but it wasn't Thanksgiving.  I pretty much have the feeling when =
I do reenactment now that I am the Australian trying to behave the right =
way at Thanksgiving, without knowing quite what I am supposed to do.

The point is though, I have a great deal of fun researching and =
experimenting and the fact that the tidbits of info have to be searched =
for is what makes it all the more fun. =20


Lisa Sinervo
Threadneedle St. Clothiers
www.ThreadneedleSt.com

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<DIV><FONT face=3DArial size=3D2>I once belonged to a very confident and =
pedantic=20
group of experienced re-enactors, mostly people who worked in museums =
and for a=20
very short while I too had a great deal of confidence in the fact that I =
was=20
doing things right.&nbsp; Sophomoric is the word that readily comes to=20
mind.&nbsp; But what changed things was hosting a Thanksgiving Dinner in =

Australia for my co-workers.&nbsp; Being American, I had the history, =
the=20
trappings, the&nbsp;right&nbsp;food,&nbsp;decorations and even a video =
of the=20
Thanksgiving day parade and whatever bowl game followed. The problem of =
course=20
was as much as they tried, my Australian friends just didn't have the =
background=20
to say the right things, at the right time or know the layers of meaning =
behind=20
the rituals, plus, no one there liked pumpkin pie.&nbsp;&nbsp;It was a =
great=20
party, but it wasn't Thanksgiving.&nbsp; I pretty much have the feeling =
when I=20
do reenactment now that I am the Australian trying to behave the right =
way at=20
Thanksgiving, without knowing quite what I am supposed to =
do.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>The point is though, I have a great =
deal of fun=20
researching and experimenting and&nbsp;the fact that the tidbits of info =
have to=20
be searched for is what makes it all the =
more&nbsp;fun.&nbsp;&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Lisa Sinervo<BR>Threadneedle St. =
Clothiers<BR><A=20
href=3D"http://www.ThreadneedleSt.com">www.ThreadneedleSt.com</A></FONT><=
/DIV></BODY></HTML>

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Subject: [h-cost] Buying a sewing machine
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Date: Sat, 4 Jan 2003 01:00:23 -0500
Status: RO

Hi all!

My parents are planning on buying me a sewing machine for Christmas. We
didn't have time to shop before, so it will be a late present, but we saw a
couple of machines today and I'm a little lost.

We saw the Pfaff machines but they were bought out by Husqvarna and we're
afraid we might have trouble getting it repaired?

Anyway, we were looking at the Select 1540 (mechanical) and the Expression
2034 (electronic). Are any of you familiar with those machines? Those
electronic ones look very nice, but since I'm probably going to keep it for
a very long time, I want to be certain I'm choosing the right thing.

We also saw the Viking machines, they look niftier and they're less
expensive for very similar functionalities. I'm not sure which model we were
looking at, but comparing with the Husqvarna website it might have been the
Rose model. Or maybe it was Lily. Viking machines seem to all be electronic
now. I'm pretty certain you're all going to say it's a good choice, but
aside from that, any other comments?

So, any advice? Should I drive all the way across town (40 km) to take a
look at the Bernina machines? Should I try to find a Singer retailer to
investigate them too? What about the White machines? Do you think I should
avoid Pfaff because of the change of company ownership?

Help?

:-)

And thanks a lot...

Audrey
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Subject: Re: [h-cost] Authenticity-questions to ponder
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Date: Fri, 3 Jan 2003 16:38:55 -0600
Status: RO

And you have the same thing with linen.  Do you want to grow the flax from
seed, harvest it, and then go through all the processing just to get it to
thread that then has to be woven, bleached/dyed, etc, before you can even
start making a garment from it? From seed to finished garment could and did
take two years or more. Our medieval ancestors would probably think we were
crazy when you can now go to a store and buy clothing right off the rack, to
want to make garments the way they did. They would probably consider washers
and dryers and dry cleaners as something of a miracle. Clothing was made to
last because it had to; the making of it was too labor intensive and it also
had to be made to allow alterrations, ie women's gowns were often sewn with
what we would consider large stitches in the skirt seams to make remodelling
easier.

I caught a bit of a show on the Food Network the other night where an
elderly lady recalled her mother had thought she had died and gone to heaven
when store-bought bread became available in her small town, for example.

Cindy Abel


----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.com>
Sent: Friday, January 03, 2003 3:57 PM
Subject: Re: [h-cost] Authenticity-questions to ponder


>
> I think part of this problem comes from the fact that we now lack the
> resources that medieval clothworkers and tailors took for granted--finding
> yarn or cloth made from sheepwool similar to that of the time, carded,
> spun and fulled in a medieval or renaissance manner, is pretty much flat
> out impossible (unless you have friends as nuts about their areas of
> expertise as we are. :)  If you were serious about getting the absolute
> most supercalifrailistic authentic article possible, you probably would
> have to do the work from the sheep out, or hunt down someone with the
> required expertise to do it for you in the correct way.
>
> Drea
>
>
> On Fri, 3 Jan 2003 seamstrix@juno.com wrote:
>
> > Something that Apollonia just wrote brought up an issue that I have long
> > been pondering. She mentioned that everyone can be more authentic than
> > they are, but she didn't want to shear her own sheep. And while I
> > certainly understand the sentiment, it shows a fundamental assumption
> > that I suspect may be American in origin. The idea that people in the
> > Middle Ages did everything to supply themselves. That it would be MORE
> > authentic to the time to raise and shear one's own sheep, weave and dye
> > the wool, and then cut and sew the garment yourself. If I am not
> > mistaken, for most of the Middle Ages, various aspects of cloth
> > production were pretty well specialized and compartmentalized with dyers
> > guilds, weavers guilds, mercers guilds, and tailors guilds all making
> > sure that no one infringed on their little piece of the moneymaking
cloth
> > production business. So therefore it wouldn't actually be more authentic
> > to shear your own sheep and etc, because very few people in the Middle
> > Ages would have been involved with the ENTIRE cloth/clothing production
> > cycle. Their involvement would have been in one specialized area- and
> > sometimes that area would have been simply purchasing it from the local
> > mercer. Could this assumption be a leftover from the semi-mythical
> > American frontier where supposedly (and I'm not even sure of this one)
> > each frontier family had to make all the necessary items for their own
> > survival without aid of merchants or traders?
> >
> >
> > Just joining in on the pondering,
> >
> > Karen
> >
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From h-costume-admin@indra.com  Wed Jan 15 23:47:36 2003
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Subject: Re: [h-cost] Buying a sewing machine
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Date: Thu, 16 Jan 2003 15:48:54 +1100
Status: RO

> Anyway, we were looking at the Select 1540 (mechanical) and the Expression
> 2034 (electronic). Are any of you familiar with those machines? Those
> electronic ones look very nice, but since I'm probably going to keep it
for
> a very long time, I want to be certain I'm choosing the right thing.

My first advice (and I seem to be giving this a lot lately) is that if you
want to do heavy duty work, such as costuming with furnishing fabrics,
french or flat-felled seams (so twice as much sewing), get a mechanical
machine.  Possibly even a second hand/reconditioned one is better than a new
"plastic" one.  The newer ones will all the great functions don't last as
long between services, they have more things to go wrong with them, and they
don't handle sewing through multiple/thick layers.

That's my advice, but then it depends what you want.  I still eventually
want to get a "plastic" machine to do all the fancy embroidery etc.

Karen
-----
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Date: Thu, 16 Jan 2003 00:27:13 -0500
Status: RO

Uhm...
Fabricville... in Montreal...

----- Original Message -----
From: "Emma Elizabeth Lehman" <00217146@bigred.unl.edu>
To: <h-costume@indra.com>
Sent: Wednesday, January 15, 2003 8:57 PM
Subject: Re: [h-cost] Fabric identification...


>
> What store is it?  I got a couple yards of a heavy weight barbie-pink
> linen at Hancocks not long ago.  Mine was labled, and I haven't had any
> reason to believe it was mis-marked.  I haven't had too much luck
> bleaching it, but I haven't really tried, either.  I'm intending to use it
> for flatlining, so the color doesn't matter much, as long as it isn't
> going to bleed.
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Date: Thu, 16 Jan 2003 00:29:25 -0500
Status: RO

Uh, sorry folks, I really, really have no idea where this is coming from, I
sent it 2 weeks ago, and it was posted 2 weeks ago on the list, and you
already all answered, and I'm still shopping... it's not because I'm
repeating myself! Really!

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin3@hotmail.com>
To: <h-costume@indra.com>; <margospatterns@yahoogroups.com>
Sent: Saturday, January 04, 2003 1:00 AM
Subject: [h-cost] Buying a sewing machine


> Hi all!
>
> My parents are planning on buying me a sewing machine for Christmas. We
> didn't have time to shop before, so it will be a late present, but we saw
a
> couple of machines today and I'm a little lost.
>
> We saw the Pfaff machines but they were bought out by Husqvarna and we're
> afraid we might have trouble getting it repaired?
>
> Anyway, we were looking at the Select 1540 (mechanical) and the Expression
> 2034 (electronic). Are any of you familiar with those machines? Those
> electronic ones look very nice, but since I'm probably going to keep it
for
> a very long time, I want to be certain I'm choosing the right thing.
>
> We also saw the Viking machines, they look niftier and they're less
> expensive for very similar functionalities. I'm not sure which model we
were
> looking at, but comparing with the Husqvarna website it might have been
the
> Rose model. Or maybe it was Lily. Viking machines seem to all be
electronic
> now. I'm pretty certain you're all going to say it's a good choice, but
> aside from that, any other comments?
>
> So, any advice? Should I drive all the way across town (40 km) to take a
> look at the Bernina machines? Should I try to find a Singer retailer to
> investigate them too? What about the White machines? Do you think I should
> avoid Pfaff because of the change of company ownership?
>
> Help?
>
> :-)
>
> And thanks a lot...
>
> Audrey
> _______________________________________________
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Date: Thu, 16 Jan 2003 01:26:28 EST
Status: RO


--part1_1c0.3830b20.2b57aa94_boundary
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Will the person who needed the parasol frame please contact me?  I have one 
that may work for you, if it does, it's yours, gratis.  It's about 36" long 
overall with quite long ribs, and a carved wooden knob handle which has seen 
better days but certainly could be cleaned up very nicely with a little 
effort.  Please drop me an e-mail, and if you want it, I'll be glad to mail 
it to you ASAP.

Best regards,
Meagn 

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Will the person who needed the parasol frame please contact me?&nbsp; I have one that may work for you, if it does, it's yours, gratis.&nbsp; It's about 36" long overall with quite long ribs, and a carved wooden knob handle which has seen better days but certainly could be cleaned up very nicely with a little effort.&nbsp; Please drop me an e-mail, and if you want it, I'll be glad to mail it to you ASAP.<BR>
<BR>
Best regards,<BR>
Meagn </FONT></HTML>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] important old master paintings
To: h-costume@indra.com
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Date: Thu, 16 Jan 2003 08:08:10 +0000 (GMT)
Status: RO

 --- Rowena <sleepyunicorn@citlink.net> wrote: > There  is a VERY large auction
up online at Sotheby's, with paintings that
> date back to the 1400s.   I haven't made it past the first 5 pages.   I
> have, of course, been admiring the ones that have people - like the BACK of
> a lady playing an instrument!    There are some famous ones in there,  and I
> have been finding it fascinating.    Especially since they are nice enough
> to not only let you clickon the thumbnail to see a larger one, they let you
> click on enlarge so you can see a really nice size!
> Rowena

*whimper* Ohhhh!!! Lots and lots and lots of piccies. I can't make up my mind
which one I would choose, but I sure as hell am saving all of the ones that are
in my time frame of study. Thanks for the link!

I just wish they gave dates, but I guess I'm pretty good nowadays at dating
themaccording to costume :-)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 16 Jan 2003 09:55:02 +0000
Status: RO

What intrigues me is that she appears to be wearing something with a shoulder strap *under* her shift (looks like what we in Britain would call a vest!)
Lovely Redoute flower paintings too!

Kate Bunting
Library, University of Derby

>>> chiara@io.com 01/15/03 10:52pm >>>
Lot# 32: *SIR PETER PAUL RUBENS (1577-1640), A FISHERMAN IN A FRISIAN HAT
AND A PEASANT WOMAN EMBRACING

I swear you can see a draw string on that neckline, and a seam on the back
side. These are great pictures!

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

-


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Subject: Re: [h-cost] Fabric identification...
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Date: Thu, 16 Jan 2003 06:33:24 -0500
Status: RO

. Could it be something other than linen? It acts like linen,
> it feels like linen, it's woven like linen, it burns like linen...
Something
> else I should try? Or should I be happy with that and rush to buy the roll
> next thing tomorrow morning? :-)
>


Welll...if it looks like a duck, walks like a duck, and quacks like a
duck...

I say buy and dye!

Dianne

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Subject: [h-cost] glengarry cap
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This is a multi-part message in MIME format.

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   If anyone has any sort of pattern to make a glengarry cap (also known =
as a glengarry bonnet), which is the type of cap that would be worn by a =
turn-of-the-century bagpiper, I would really appreciate the help.

                                               Thanks,
                                                  Jessica

------=_NextPart_000_0005_01C2BD3D.8ABDE270
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp; If anyone has any sort of =
pattern to=20
make a glengarry cap (also known as a glengarry bonnet), which is the =
type of=20
cap that would be worn by a turn-of-the-century bagpiper, I would really =

appreciate the help.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial=20
size=3D2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
Thanks,</FONT></DIV>
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size=3D2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&=
nbsp;&nbsp;=20
Jessica</FONT></DIV></BODY></HTML>

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Subject: RE: [h-cost] Looking for stuff....
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Date: Thu, 16 Jan 2003 09:16:29 -0500
Status: RO

Sandy Pettinger <costumrs@radiks.net> asked:

>I'm looking for medium grey velvet.  It needs to be drapeable, so 
>upholstery weight is not an option.  I found one site (velvetfabrics.com 
>?) with two colors of grey, but hope to find maybe one other, so I have a 
>choice.  I don't need much, so it doesn't have to be super-cheap, but 
>don't want to break the bank either.

Try http://www.trimfabrics.com, or possibly 
http://classicfabric.com/index2.html (this is one of the popular 
silk-velvet vendors on e-bay), or 
http://store.yahoo.com/phoenixtextiles/fabric-apparel---fashion-fabrics-velvet--velveteen---velour.html 
(Phoenix Textiles)...

>The other is harder - I need a parasol or parasol frame, a la My Fair 
>Lady.  IOW, not the tiny bridal parasols, but one suitable for that time 
>period, that could have been used as a walking stick as well.  Ideally, it 
>would be a sword-parasol, but I'm 99.99% sure I won't find that.

At one point, I'd've sent you over to "Uncle Sam's Umbrellas" here in NYC. 
Unfortunately, they went out of business a few years ago...



Brenda
webwarren@earthlink.net


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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: [h-cost] saving web sites for later viewing
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Date: Thu, 16 Jan 2003 06:34:32 -0800
Status: RO

Did you know there is a niffy little program called "snag a site" that will
capture someone's web site for you so you can view it off line, links and
all?  I occasionally use it when a site like Mark Carlson's one on shoes
interests me enough to use off line.  Anyone want a copy?  I can send it to
anyone in a zip file.  I believe it is a public domain program (pretty
sure).  It's great for art sites.
Lisa



----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Thursday, January 16, 2003 12:08 AM
Subject: Re: [h-cost] important old master paintings


> --- Rowena <sleepyunicorn@citlink.net> wrote: > There  is a VERY large
auction
> up online at Sotheby's, with paintings that
> > date back to the 1400s.   I haven't made it past the first 5 pages.   I
> > have, of course, been admiring the ones that have people - like the BACK
of
> > a lady playing an instrument!    There are some famous ones in there,
and I
> > have been finding it fascinating.    Especially since they are nice
enough
> > to not only let you clickon the thumbnail to see a larger one, they let
you
> > click on enlarge so you can see a really nice size!
> > Rowena
>
> *whimper* Ohhhh!!! Lots and lots and lots of piccies. I can't make up my
mind
> which one I would choose, but I sure as hell am saving all of the ones
that are
> in my time frame of study. Thanks for the link!
>
> I just wish they gave dates, but I guess I'm pretty good nowadays at
dating
> themaccording to costume :-)
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
> http://uk.my.yahoo.com
> _______________________________________________
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Date: Thu, 16 Jan 2003 14:37:05 -0000
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19th C Yes I have but you can buy them ever so cheaply on anchors =
website

Mel

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<DIV><FONT face=3DArial size=3D2>19th C Yes I have but you can buy them =
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Subject: [h-cost] Re: Fabric identification...
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Date: Thu, 16 Jan 2003 09:15:28 -0600
Status: RO

Audrey wrote:

 >I walked home with a swatch. Burn tested it. Steady flame, embers slow to
 >extinguish, natural fiber smell, but most interesting of all, powdery
 >blackish ash... Could it be something other than linen? It acts like linen,
 >it feels like linen, it's woven like linen, it burns like linen... Something
 >else I should try? Or should I be happy with that and rush to buy the roll
 >next thing tomorrow morning?  [:-)]


I found offwhite fabric that is exactly like that this past year at Joannes and had the 
same experience.  I did the burn test with washed and unwashed swatches.  Even split the 
threads up and tried that (all left that black powdery ash).  It does have the same hand 
that linen does, but the wrinkles it gets when wadded up do not hold quite as crisply as 
linen, and it is ever so slightly smoother or softer? (compared it to some real linen I 
had on hand).   I sadly suspect this is some Rayon or other man made fiber from some 
natural product, that is a really good copy of linen.

As far as I know, the burn test can't be that far off,  ...
-- 
Linda Thompson

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

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From h-costume-admin@indra.com  Thu Jan 16 10:20:23 2003
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Subject: Re: [h-cost] Fabric identification...
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Date: Thu, 16 Jan 2003 09:18:53 -0600
Status: RO



 >Welll...if it looks like a duck, walks like a duck, and quacks like a
 >duck...

Ahh but does it cr*p like a duck is the question... the black powdery substance is all 
wrong....(sorry, had to say it, it was the first thing I thought of when I saw the duck 
analogy)... LOL

 >I say buy and dye!

-- 
Linda Thompson

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

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From h-costume-admin@indra.com  Thu Jan 16 10:35:56 2003
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Subject: [h-cost] 4th Cent. bishop's pattern
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Date: Thu, 9 Jan 2003 14:23:01 -0500
Status: RO

Hi!

Mostly I am a lurker to this list, but need to ask for some 
information and/or help.  A friend of mine is putting together a 
portrayal of St. Nicholas the bishop and asked for some help on his 
costume.

Up to now I have not been able to locate a pattern as I am not sure 
of the style of dress.  What I would like to find is fairly good 
pattern for a bishop's costume particularly for the 4th century or a 
pattern that could be adapted.

Thanks in advance for your help,
Ruth Williams
Rochester, NY
williams@ece.rochester.edu
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Subject: [h-cost] Help dating a fashion plate
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Date: Thu, 16 Jan 2003 10:40:01 -0500
Status: RO

I am trying to date a group of fashion plates.  If anyone could help I would
really appreciate it.  I have eight of these plates that all seem to be from
the same year.
http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
This plate is titled:
Evening Dress
expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)

If you think it is of a given time span, please explain why you think so.

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] Help dating a fashion plate
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Date: Thu, 16 Jan 2003 10:56:00 -0500
Status: RO

More info... I have checked the book, French Fashion Plates of the Romantic
Era 1830-34 by Judy M. Johnson.  Only the first four plates in this book
look similar to the ones I have.  The bonnets on my plates are larger and
the bells of the skirts are not as wide and decorative as in the book.
There is one image in my collection that has two women in the plate... one
standing lady and the other sitting on a chair showing the rear of the
costume.

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: Thursday, January 16, 2003 10:40 AM
Subject: [h-cost] Help dating a fashion plate


> I am trying to date a group of fashion plates.  If anyone could help I
would
> really appreciate it.  I have eight of these plates that all seem to be
from
> the same year.
> http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
> This plate is titled:
> Evening Dress
> expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)
>
> If you think it is of a given time span, please explain why you think so.
>
> 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
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
>


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From: <r.carnegie@verizon.net>
To: <h-costume@indra.com>
Subject: Re: [h-cost] glengarry cap
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Date: Thu, 16 Jan 2003 11:09:13 -0500
Status: RO

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> 
> From: "Jessica Glave" <zucinon@hotmail.com>
> Date: 2003/01/16 Thu AM 08:59:13 EST
> To: <h-costume@net.indra.com>
> Subject: [h-cost] glengarry cap
> 
>    If anyone has any sort of pattern to make a glengarry cap (also known as a glengarry bonnet), which is the type of cap that would be worn by a turn-of-the-century bagpiper, I would really appreciate the help.
> 
>                                                Thanks,
>                                                   Jessica
> 
> 
   As I recall a proper Glengerry isn't sewn, it's woven.  (I will try to check mine when I get home).  Much like a Balmoral.  The 'gerry as they were often called in the period your discussing was a common military cap, for English as well as Scottish regiments.  I have seen a number of extant Victorian 'gerrys and the quality modern ones realy are pretty much the same.  Some differences are that regimental ones were regulated.  Some regiments had dicing some did not.  Also the tourie (little pom pom on top) were in different colours for various regiments and the ribbons hanging down tghe back were cut differently.  I have this information for WWII regiments, but not earlier.

    The reason I mention quality glengerrys is that cheaper ones are often sewn, and the dicing is occasionally a cheap plaid or checked ribbon sewn on.  A quality gerry should cost you between $35 and $60 at any Scottish shop.  

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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<DIV><FONT face=Arial size=2>&nbsp;&nbsp; If anyone has any sort of pattern to 
make a glengarry cap (also known as a glengarry bonnet), which is the type of 
cap that would be worn by a turn-of-the-century bagpiper, I would really 
appreciate the help.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial 
size=2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
Thanks,</FONT></DIV>
<DIV><FONT face=Arial 
size=2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
Jessica</FONT></DIV></BODY></HTML>


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From h-costume-admin@indra.com  Thu Jan 16 11:23:03 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Help dating a fashion plate
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Date: Thu, 16 Jan 2003 17:25:31 +0100
Status: RO

Dear Penny.
I think you are right. It could be the start  of the 30ies in my oppinion
two..........
Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: <h-costume@indra.com>
Sent: Thursday, January 16, 2003 4:56 PM
Subject: Re: [h-cost] Help dating a fashion plate


> More info... I have checked the book, French Fashion Plates of the
Romantic
> Era 1830-34 by Judy M. Johnson.  Only the first four plates in this book
> look similar to the ones I have.  The bonnets on my plates are larger and
> the bells of the skirts are not as wide and decorative as in the book.
> There is one image in my collection that has two women in the plate... one
> standing lady and the other sitting on a chair showing the rear of the
> costume.
>
> 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: Thursday, January 16, 2003 10:40 AM
> Subject: [h-cost] Help dating a fashion plate
>
>
> > I am trying to date a group of fashion plates.  If anyone could help I
> would
> > really appreciate it.  I have eight of these plates that all seem to be
> from
> > the same year.
> > http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
> > This plate is titled:
> > Evening Dress
> > expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)
> >
> > If you think it is of a given time span, please explain why you think
so.
> >
> > 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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From h-costume-admin@indra.com  Thu Jan 16 11:28:10 2003
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Subject: Re: [h-cost] Help dating a fashion plate
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Date: Thu, 16 Jan 2003 10:27:38 -0600
Status: RO

This is NOT my area of expertise so if anyone else feels differently than
I do, I will bow to a more educated opinion.

This dress looks to me like late 1829 -thru 1830's. 

Reasons- The skirts are starting to take on the bell shape of the 1830's
as opposed to the straighter more conical look of the 1820's. The sleeves
are starting to show the full-topped but drooping look of the '30's and
the head-dress is starting to open up from the face which is typical of
the '30's rather than the closer to the face styles of the '20's. The
shoulders are also depicted as being very sloping while shoulders in the
'20's tended to be drawn in a squarer shape. The waistline is also show
in a relatively natural position but without a point in front which would
place is squarely (pun intended) after the fall of the Empire (yes, I
meant that) but before the 1840's. 

My Tuppence,

Karen

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Subject: [h-cost] Costume Maker's Art
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Date: Thu, 16 Jan 2003 11:52:08 -0500
Status: RO

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For those of you who have or are enjoying The Costume Maker's Art, may I =
also suggest that there is another fabrication volume that was published =
about the same time that has all the details of contemporary =
interpretations of textile construction and embellishment that flows =
from the past into the future.  The title? Art To Wear by JS Dale, 1986. =
Having spent some time since the coming of the new year with the Kyoto =
book, I am struck with the similarity of connection with the past as one =
studies the rebirth or recreation of fashion history of design ideas. =
This book should not be mistaken for other titles of that name that =
mainly featured Folkwear interps, or the new book that features ethnic =
root interps.                                                            =
                                                                         =
                                                                         =
                                                                         =
       In my own study of costume history, I am often awed by the =
various factors that go into the manipulation of fabric to create and =
recreate fashion change.  Many of you are doing this as you seek to =
reinterpret  or recreate costumes and assessories from a particular time =
fragment. Some times it is the textile itself  that determined the =
garment made; some times it seems to be the tools of the trade, or the =
cut and sewing techniques.  I am finding the stimulation from all three =
of the above books to be marvelous food for my mind's eye.  And it is a =
Grande get-away from fielding orders and attacking the studio clutter.   =
                                                                         =
                                                                         =
                                                                         =
                 Kathleen, who must get on with "Had on...Took with".    =
                                                                         =
                                                                         =
                                                                         =
                                    =20

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>For those of you who have or are enjoying The =
Costume Maker's=20
Art, may I also suggest that there is another fabrication volume that =
was=20
published about the same time that has all the details of contemporary=20
interpretations of textile construction and embellishment that flows =
from the=20
past into the future.&nbsp; The title? Art To Wear by JS Dale, 1986. =
Having=20
spent some time since the coming of the new year with the Kyoto book, I =
am=20
struck with the similarity of connection with the past as one studies =
the=20
rebirth or recreation of fashion history of design ideas. This book =
should not=20
be mistaken for other titles of that&nbsp;name that mainly featured =
Folkwear=20
interps, or the new book that features ethnic root =
interps.&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
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&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;In my own study =
of=20
costume history, I am often awed by the various factors that go into the =

manipulation of fabric to create and recreate fashion change.&nbsp; Many =
of you=20
are doing this as you seek to reinterpret&nbsp; or recreate costumes and =

assessories from a particular time fragment. Some times it is the =
textile=20
itself&nbsp; that determined the garment made; some times it seems to be =
the=20
tools of the trade, or the cut and sewing techniques.&nbsp; I am finding =
the=20
stimulation from all three of the above books to be marvelous food for =
my mind's=20
eye.&nbsp; And it is a Grande get-away from fielding orders and =
attacking the=20
studio clutter.&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
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References: <20030115092828.67499.qmail@web41010.mail.yahoo.com> <p05100305ba4b6fea5f47@[136.152.197.169]>
Subject: Re: [h-cost] origin of words,  wheelfarthingale_ fishboneskirt.
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Date: Thu, 16 Jan 2003 17:55:47 +0100
Status: RO

Hi 
Heather.
It would be two much troubble for you.
I will go to the library.
But thanks for your help!

Bjarne


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message ----- 
From: "Heather Rose Jones" <hrjones@socrates.Berkeley.EDU>
To: <h-costume@indra.com>
Sent: Wednesday, January 15, 2003 9:10 PM
Subject: Re: [h-cost] origin of words, wheelfarthingale_ fishboneskirt.


> At 1:28 AM -0800 1/15/03, Tania Gruning wrote:
> >Hi Bjarne.
> >
> >I am pretty certain that somebody in Denmark made a dictionary of 
> >all the danish words in the end of the 18'th beginning at the 17'th 
> >century.I just cannot remember what it is called. It is at least 20 
> >books with all sorts of danish words. Ask your local librarian.
> 
> Well, there's:
> 
> Kalkar, Otto.  1881.  Ordbog til det AEldre Danske Sprog (1300-1700) 
> 5v..  Thieles Bogtrykkeri, Kobenhavn.
> 
> Only five volumes, not 20, but otherwise it sounds exactly like your 
> description.  I own the set, so I could look things up, if desired.
> 
> (Hey, don't ask me what I'm doing with a five volume dictionary of 
> Old Danish ... it was there in the bookstore, so I bought it. 
> Wouldnt' you?  The startling thing is that I've actually used it half 
> a dozen times ... well, ok, given my hobbies, maybe not quite _that_ 
> startling.)
> 
> Heather
> -- 
> *****
> Heather Rose Jones
> hrjones@socrates.berkeley.edu
> *****
> _______________________________________________
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Subject: [h-cost] stage designer
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Date: Thu, 16 Jan 2003 18:02:28 +0100
Status: RO

Hi.
Guess what.
Somebody emailed me and asked if i would like to be their costume designer
for a play. I should make the stage settings two.
But it is for amateaur theater, and no wages.
It is a play settled in 1840ies with Hans Christian Andersen the story
teller and Heiberg, the famous actress.
It is in North Sealand, so i would have to travel 1 ½ hour by train. Their
play is going to start in august.
Phew if i had ben 20 years younger, i think i would have told them yes, but
no wages............... No!

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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In a message dated 1/16/2003 12:02:06 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> Phew if i had ben 20 years younger, i think i would have told them yes, but
> no wages............... No!
> 
> 

Good for you!  Is everyone working free, like the famous actress?  You do not 
need what we here call "ticket punching" at this point--the main reason to 
work for free, unless it is for a group you are really passionately committed 
to.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/16/2003 12:02:06 PM Eastern Standard 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">Phew if i had ben 20 years younger, i think i would have told them yes, but<BR>
no wages............... No!<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Good for you!&nbsp; Is everyone working free, like the famous actress?&nbsp; You do not need what we here call "ticket punching" at this point--the main reason to work for free, unless it is for a group you are really passionately committed to.<BR>
Ann Wass</FONT></HTML>

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] stage designer
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Date: Thu, 16 Jan 2003 17:58:59 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Hi.
> Guess what.
> Somebody emailed me and asked if i would like to be their costume designer
> for a play. I should make the stage settings two.
> But it is for amateaur theater, and no wages.
> It is a play settled in 1840ies with Hans Christian Andersen the story
> teller and Heiberg, the famous actress.
> It is in North Sealand, so i would have to travel 1 ½ hour by train. Their
> play is going to start in august.
> Phew if i had ben 20 years younger, i think i would have told them yes, but
> no wages............... No!

Good grief Bjarne, I agree with Anneand you, NO WAY! If it were your friends,
or you feel indeed passionate about something, or it is for a really good cause
that you would like to support, but just so? No dear, that is taking advantage
by them of you.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Thu, 16 Jan 2003 12:48:33 -0500
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I think you made the right decision Bjarne.  You are too good to work for
free.

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, 16 Jan 2003 13:05:49 -0500
Status: RO

        Would they go for paying your expenses?  Still, you are really
too good to give away your work unless it is something that sounds like
fun and you want to do it.

Lalah
Never give up, Never surrender
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Date: Thu, 16 Jan 2003 13:35:58 -0500
Status: RO

----- Original Message -----
From: "Linda J. Thompson" <LindaJThompson@comcast.net>
>
> I found offwhite fabric that is exactly like that this past year at
Joannes and
> same experience.  I did the burn test with washed and unwashed swatches.
[...]
> I sadly suspect this is some Rayon or other man made fiber from some
> natural product, that is a really good copy of linen.

How can you tell rayon from linen?

I've been looking at fabric identification sites... the only differences I
can see are that rayon leaves almost no ash when burned and looses strength
when wet. But I don't think that's enough to tell them apart...
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In a message dated 1/16/2003 12:01:34 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:


> But it is for amateaur theater, and no wages.
> 

So what else is new?

If you want to work for free, be my guest [though I'd just do either the set 
OR the costumes]. But insist on a budget for the costumes. You must have some 
money to produce 3-D costumes. With scenery one can suggest a wall or door, 
you can suggest an open field or forest. You can't suggest a bodice. You 
can't suggest a pair of shoes.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/16/2003 12:01:34 PM Eastern Standard Time, drewscph@post12.tele.dk writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But it is for amateaur theater, and no wages.<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
So what else is new?<BR>
<BR>
If you want to work for free, be my guest [though I'd just do either the set OR the costumes]. But insist on a budget for the costumes. You must have some money to produce 3-D costumes. With scenery one can suggest a wall or door, you can suggest an open field or forest. You can't suggest a bodice. You can't suggest a pair of shoes.</FONT></HTML>

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From h-costume-admin@indra.com  Thu Jan 16 14:23:54 2003
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Subject: [h-cost] glengarry cap
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Date: Thu, 16 Jan 2003 14:23:59 -0500
Status: RO

MoiRandal has a pattern for a glengarry cap.  You can check at his site:

http://members.aol.com/randwhit/patterns.htm#glengarry

It looks like it should be exactly what you need.

Donna Scarfe
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com

> From: "Jessica Glave" <zucinon@hotmail.com>

>   If anyone has any sort of pattern to make a glengarry cap (also known as a glengarry bonnet), which is the type of cap that would be worn by a turn-of-the-century bagpiper, I would really appreciate the help.
> 
>                                               Thanks,
>                                                  Jessica
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Date: Thu, 16 Jan 2003 12:21:37 -0700
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Not sure how drapable you mean, but I have had great success washing
cotton upholstery velvet.  It sure is nice after a few washes!
 
Sg
 
 

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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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you mean, but I have had great success washing cotton upholstery velvet. =
<span
style=3D'mso-spacerun:yes'>&nbsp;</span>It sure is nice after a few =
washes!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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From h-costume-admin@indra.com  Thu Jan 16 14:34:35 2003
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Date: Thu, 16 Jan 2003 11:33:17 -0800
Status: RO

RuthAnn Williams <williams@ece.rochester.edu> wrote:

>Mostly I am a lurker to this list, but need to ask for some
>information and/or help.  A friend of mine is putting together a
>portrayal of St. Nicholas the bishop and asked for some help on his
>costume.
>
>Up to now I have not been able to locate a pattern as I am not sure
>of the style of dress.  What I would like to find is fairly good
>pattern for a bishop's costume particularly for the 4th century or a
>pattern that could be adapted.

Well, that's Roman period. I suggest looking at some of the surviving 
so-called "Coptic" Egyptian tunics. This shape appears to have been 
commonly worn in many parts of the Empire, especially the Eastern 
Mediterranean, although the specific decorative details (tapestry 
woven right into the garment) seem local.

Then look at art from the time, to see how men dressed. He would 
likely have worn some sort of rectangular wrap garment, although 
probably not the semi-eliptical toga.

The bishop's mitre we're familiar with was not in use in the 300s.

That should get you started...

Anahita

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 16 Jan 2003 20:38:39 +0100
Status: RO

Hi.
If i had the money? i would go for that lace maker two. Absolutely lovely.
And i also love the lady who sits and plays at the clavicord.
Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Date: Thu, 16 Jan 2003 14:36:51 -0500
Status: RO

Bjarne, you made absolutely the right decision.  I have found myself working 
for free as favors to friends, and invariably it takes up all the time I 
should have to do the work I really love (and, even sometimes, taking the 
place of paying work it was then impossible to accept).

BTW, took several good looks at your sacque back gown.  It's delicious.

Richard

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 16 Jan 2003 20:42:29 +0100
Status: RO

In case some of you have plans to come to Denmark.
The National Gallery at Frederiksborg Castle will have
an exhibition in april with 100 portraits.
Some wich never has ben shown before!
Wich reminds me that i owe you!
I promised to go there and take photos and post for you!
They have a lot of renaissance portraits.
Well i got my digital camera now, and when the light comes back to Denmark
in a coupple of months, i shall go!

Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] glengarry cap
References: <20030116160913.MRWL7656.out002.verizon.net@[127.0.0.1]>
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Date: Thu, 16 Jan 2003 19:33:06 +0000
Status: RO

I'm confused?  How can you weave something into that shape?

Jean

r.carnegie@verizon.net wrote
>
>>
>> From: "Jessica Glave" <zucinon@hotmail.com>
>> Date: 2003/01/16 Thu AM 08:59:13 EST
>> To: <h-costume@net.indra.com>
>> Subject: [h-cost] glengarry cap
>>
>>    If anyone has any sort of pattern to make a glengarry cap (also 
>>known as a glengarry bonnet), which is the type of cap that would be 
>>worn by a turn-of-the-century bagpiper, I would really appreciate the 
>>
>>
>>                                                Thanks,
>>                                                   Jessica
>>
>>
>   As I recall a proper Glengerry isn't sewn, it's woven.  (I will try 
>to check mine when I get home).  Much like a Balmoral.  The 'gerry as 
>they were often called in the period your discussing was a common 
>military cap, for English as well as Scottish regiments.  I have seen a 
>number of extant Victorian 'gerrys and the quality modern ones realy 
>are pretty much the same.  Some differences are that regimental ones 
>were regulated.  Some regiments had dicing some did not.  Also the 
>tourie (little pom pom on top) were in different colours for various 
>regiments and the ribbons hanging down tghe back were cut differently. 
>I have this information for WWII regiments, but not earlier.
>
>    The reason I mention quality glengerrys is that cheaper ones are 
>often sewn, and the dicing is occasionally a cheap plaid or checked 
>ribbon sewn on.  A quality gerry should cost you between $35 and $60 at 
>any Scottish shop.
>
>R.Carnegie@verizon.net
>"Argue for your limitations, and they are yours."
>             R. Bach
>   If anyone has any sort of pattern to make a glengarry cap (also known
>as a glengarry bonnet), which is the type of cap that would be worn by a
>turn-of-the-century bagpiper, I would really appreciate the help.
> 
>                                               Thanks,
>                                                  Jessica

-- 
Jean Waddie
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Date: Thu, 16 Jan 2003 11:59:06 -0800
Status: RO

I get the list in digest so this may be a little late but I think that is a
fashion from 1829, 1830 at the latest.

I have posted a quick webpage with my images that I had here on my computer
from this era so you can see the ones I think are most similar to this
plate.  I will take this page down later today so look at it quickly if this
is a period you care about.

I have hundreds of images from 1800 to 1850 and these 3 are the closest.

It's on my work website at :  http://staff.washington.edu/gawne/
so it can't stay up there too long.

I hope this helps. 

Agnes
> --__--__--
> 
> Message: 4
> From: "Penny Ladnier" <penny@costumegallery.com>
> To: "h-costume" <h-costume@indra.com>
> Date: Thu, 16 Jan 2003 10:40:01 -0500
> Subject: [h-cost] Help dating a fashion plate
> Reply-To: h-costume@mail.indra.com
> 
> I am trying to date a group of fashion plates.  If anyone could help I would
> really appreciate it.  I have eight of these plates that all seem to be from
> the same year.
> http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
> This plate is titled:
> Evening Dress
> expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)
> 
> If you think it is of a given time span, please explain why you think so.
> 
> 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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Subject: Re: [h-cost] important old master paintings
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Date: Thu, 16 Jan 2003 15:00:02 -0500
Status: RO

You can order a catalog for "only" $50.00 US.  Guess I will have to pass
on that.

Lalah
Never give up, Never surrender
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From h-costume-admin@indra.com  Thu Jan 16 15:07:42 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] stage designer
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Date: Thu, 16 Jan 2003 20:59:14 +0100
Status: RO

Hi, and thanks for your back up.
They are having 70 actors with speaking roles, and 20 statists.
I would have 6 experienced semstresses and many craftsmen for the stages.
What they wanted from me would be costume drawings, sewing tecknical help
for the historic details, drafts for the stages with the instruktor.
Alone the job to make more than 70 costume drawings, and the time i would
have to study the period from 1830 - 1900 and then the sets, how could i
possible do that when i have my full time job to take care of, i need that
to have butter on my bread, and then there would be no way to make anything
else. Besides they have premiere in august, and what about my summer
holliday then?
There are many things to consider, i am sure it could be great fun, perhaps
somebody would notice me, but heck.......... i dont have the guts and the
energy for that and then no money!

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] glengarry cap
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Date: Thu, 16 Jan 2003 20:10:20 -0000
Status: RO

>I'm confused?  How can you weave something into that shape?

I'm confused too gow can you and the ones we have bought are British MOD
issue and about 7 pounds IMR

Mel
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From h-costume-admin@indra.com  Thu Jan 16 15:32:38 2003
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Date: Thu, 16 Jan 2003 15:32:12 -0500
Status: RO


> 
> From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
> Date: 2003/01/16 Thu PM 03:10:20 EST
> To: <h-costume@indra.com>
> Subject: Re: [h-cost] glengarry cap
> 
> >I'm confused?  How can you weave something into that shape?
> 
> I'm confused too gow can you and the ones we have bought are British MOD
> issue and about 7 pounds IMR
> 
> Mel


    British MOD sell for more here in the US, and tend to be small sizes.  They do come up on ebay occasionally though (I have no idea where the original poster is).  Here in North America Canada would be a good source for used issued.

   As far as how is it done, I do not know, it has to do with blocking sort of like a military beret.  I just looked at mine at lunch to verify however and it is only stitched together in the rear (where the ribbons are).

Cheers,
Ron


R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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From: "Sue" <Sue@VictorianMillinery.com>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] saving web sites for later viewing
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Date: Thu, 16 Jan 2003 15:55:36 -0500
Status: RO

Lisa, I would love to have a copy. Thanks Sue
Cordially,
Sue Shatto
401 Fairview Ave.
Frederick, MD 21701
http://www.VictorianMillinery.com

----- Original Message -----
From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
To: <h-costume@indra.com>
Sent: Thursday, January 16, 2003 9:34 AM
Subject: [h-cost] saving web sites for later viewing


> Did you know there is a niffy little program called "snag a site" that
will
> capture someone's web site for you so you can view it off line, links and
> all?  I occasionally use it when a site like Mark Carlson's one on shoes
> interests me enough to use off line.  Anyone want a copy?  I can send it
to
> anyone in a zip file.  I believe it is a public domain program (pretty
> sure).  It's great for art sites.
> Lisa
>
>
>
> ----- Original Message -----
> From: "N Kipar" <nicolas_fouquet@yahoo.com>
> To: <h-costume@indra.com>
> Sent: Thursday, January 16, 2003 12:08 AM
> Subject: Re: [h-cost] important old master paintings
>
>
> > --- Rowena <sleepyunicorn@citlink.net> wrote: > There  is a VERY large
> auction
> > up online at Sotheby's, with paintings that
> > > date back to the 1400s.   I haven't made it past the first 5 pages.
I
> > > have, of course, been admiring the ones that have people - like the
BACK
> of
> > > a lady playing an instrument!    There are some famous ones in there,
> and I
> > > have been finding it fascinating.    Especially since they are nice
> enough
> > > to not only let you clickon the thumbnail to see a larger one, they
let
> you
> > > click on enlarge so you can see a really nice size!
> > > Rowena
> >
> > *whimper* Ohhhh!!! Lots and lots and lots of piccies. I can't make up my
> mind
> > which one I would choose, but I sure as hell am saving all of the ones
> that are
> > in my time frame of study. Thanks for the link!
> >
> > I just wish they gave dates, but I guess I'm pretty good nowadays at
> dating
> > themaccording to costume :-)
> >
> > Nicole
> >
> > =====
> > Nicole Kipar M.A.
> > URL: http://www.kipar.org/
> > Email: nicole@kipar.org
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Everything you'll ever need on one web page
> > from News and Sport to Email and Music Charts
> > http://uk.my.yahoo.com
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: Liz / Cozit <cozit@comcast.net>
Subject: Re: [h-cost] Re: Fabric identification...
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Date: Thu, 16 Jan 2003 15:56:16 -0500
Status: RO

Missed the original post... but...  Almost all the linen-look that 
JoAnns sells now is a rayon blend.... though I've seen both rayon-poly 
(mostly), and another rayon mix which I can't remember off the top of my 
head right now.  I only "sort of" looked, since none of their colors 
came close to my needs and I've found cheaper, better 100% linen on the 
web now (on and off).

Shame too... I'd bought some very nice linen-cotton (50-50) in the past 
few years that's worked quite nicely... and I'd do it again if they 
still carried it.

JoAnns has also apparently dropped the *good* chamois flannel as well. 
 The junk they sell now is only 45" rather than 60", and it's lighter 
and *much* more inclined to pill up.  *Not* chamois by either definition 
I was taught and learned to expect.  (Again a shame... I've a cloak 
that's been through a few washings and 2 scotch-guardings over the last 
7 years that looks great (other than the "oops" I made when making it, 
that I just live with if I want to wear my warm one... and only at 
non-demo SCA or non-"real" re-enacting events).... the one I made 2 
years ago from the *junk* keeps needing shaving, and even drenched with 
scotchguard it doesn't repel *anything*.

-Elisabeth

h-costume-request@indra.com wrote:

>From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>
>
>----- Original Message -----
>From: "Linda J. Thompson" <LindaJThompson@comcast.net>
>  
>
>>I found offwhite fabric that is exactly like that this past year at Joannes and same experience.  I did the burn test with washed and unwashed swatches.
>>    
>>
>[...]
>  
>
>>I sadly suspect this is some Rayon or other man made fiber from some natural product, that is a really good copy of linen.
>>    
>>
>
>How can you tell rayon from linen?
>
>I've been looking at fabric identification sites... the only differences I
>can see are that rayon leaves almost no ash when burned and looses strength
>when wet. But I don't think that's enough to tell them apart...
>
>  
>


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From: Gwyn Carnegie <gacarnegie@ucdavis.edu>
Subject: Re: Re: [h-cost] glengarry cap
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Date: Thu, 16 Jan 2003 13:07:06 -0800
Status: RO

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At 03:32 PM 1/16/2003 -0500, you wrote:
> > From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
> > >I'm confused?  How can you weave something into that shape?
> >
> > I'm confused too gow can you and the ones we have bought are British MOD
> > issue and about 7 pounds IMR
> >
> > Mel
>
>     British MOD sell for more here in the US, and tend to be small 
> sizes.  They do come up on ebay occasionally though (I have no idea where 
> the original poster is).  Here in North America Canada would be a good 
> source for used issued.
>
>    As far as how is it done, I do not know, it has to do with blocking 
> sort of like a military beret.  I just looked at mine at lunch to verify 
> however and it is only stitched together in the rear (where the ribbons are).
>
>Cheers,
>Ron

Not having an original in my hands, I'd say they aren't woven but rather 
steamed  and draped out of a wool felt. I look at the cap and that's the 
first thing that comes to mind. It's how I'd make one.

As to a circular loom, the large scale modern ones can be categorized to 
three types : canopy cloth , bulk bag , geo-textile. You see them used for 
all sorts of things though mostly for extruded plastic bags. They do come 
in a textile version. I'm trying to think of a mill off the top of my head 
that has one of the fabric ones for a reference. I did quickly find a 
diagram of the plastic bag one with images for you weaving types: 
http://www.yaota.com.tw/taiwan_3.htm and 
http://www.yaota.com.tw/taiwan_2.htm (this is a canvas or loose weave 
installation)

Impressive machines... you should see the big knitting machines in action >; )

As to historical looms, here is a list of patents for looms, scan down the 
page until you hit Circular Looms. 
http://www.cs.arizona.edu/patterns/weaving/patents.html You can view 
diagrams from the original blueprints on these.


Gwyn Carnegie
University of California at Davis

--=====================_17706750==.ALT
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<html>
<body>
At 03:32 PM 1/16/2003 -0500, you wrote:<br>
<blockquote type=cite class=cite cite>&gt; From: &quot;Melanie
Wilson&quot; &lt;MelanieWilson@dragonflight.co.uk&gt;<br>
&gt; &gt;I'm confused?&nbsp; How can you weave something into that
shape?<br>
&gt; <br>
&gt; I'm confused too gow can you and the ones we have bought are British
MOD<br>
&gt; issue and about 7 pounds IMR<br>
&gt; <br>
&gt; Mel<br><br>
&nbsp;&nbsp;&nbsp; British MOD sell for more here in the US, and tend to
be small sizes.&nbsp; They do come up on ebay occasionally though (I have
no idea where the original poster is).&nbsp; Here in North America Canada
would be a good source for used issued.<br><br>
&nbsp;&nbsp; As far as how is it done, I do not know, it has to do with
blocking sort of like a military beret.&nbsp; I just looked at mine at
lunch to verify however and it is only stitched together in the rear
(where the ribbons are).<br><br>
Cheers,<br>
Ron</blockquote><br>
Not having an original in my hands, I'd say they aren't woven but rather
steamed&nbsp; and draped out of a wool felt. I look at the cap and that's
the first thing that comes to mind. It's how I'd make one.<br><br>
As to a circular loom, the large scale modern ones can be categorized to
three types : canopy cloth , bulk bag , geo-textile. You see them used
for all sorts of things though mostly for extruded plastic bags. They do
come in a textile version. I'm trying to think of a mill off the top of
my head that has one of the fabric ones for a reference. I did quickly
find a diagram of the plastic bag one with images for you weaving types:
<a href="http://www.yaota.com.tw/taiwan_3.htm" eudora="autourl">http://www.yaota.com.tw/taiwan_3.htm</a>
and <a href="http://www.yaota.com.tw/taiwan_2.htm" eudora="autourl">http://www.yaota.com.tw/taiwan_2.htm</a> (this is a canvas or loose weave installation)<br><br>
Impressive machines... you should see the big knitting machines in action &gt;; )<br><br>
As to historical looms, here is a list of patents for looms, scan down the page until you hit Circular Looms. <a href="http://www.cs.arizona.edu/patterns/weaving/patents.html" eudora="autourl">http://www.cs.arizona.edu/patterns/weaving/patents.html</a> You can view diagrams from the original blueprints on these. <br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

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Date: Thu, 16 Jan 2003 22:22:40 -0000
Status: RO

>British MOD sell for more here in the US, and tend to be small sizes.  They
do come up on ebay occasionally though (I have no idea where the original
poster is).  Here in North America Canada would be a good source for used
issued.

www.camo.co.uk is the web site although I can't see any it is worth emailing
them


>   As far as how is it done, I do not know, it has to do with blocking sort
of like a military beret.  I just looked at mine at lunch to verify however
and it is only stitched together in the rear (where the ribbons are).

I'll look at the one we have. Have you photos of yours ?

Mel



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Subject: [h-cost] article of interest for those early modern Germany
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Date: Thu, 16 Jan 2003 15:20:22 -0800
Status: RO

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I finally got a chance to catch up on some reading. It occurred to me some=
=20
folks on this might find this useful.

Mentges G.,  Fashion, Time and the Consumption of a Renaissance Man in=20
Germany: The Costume Book of Matth=E4us Schwarz of Augsburg, 1496-1564.=20
Gender & History, November 2002, vol. 14, no. 3, pp. 382-402(21) ,=20
Blackwell Publishers Ltd, Oxford, UK and Boston, USA

Interesting article though what I really want is to get a translated copy=20
of The Costume Book of Matth=E4us Schwarz of Augsburg, 1496 - 1564.


Gwyn Carnegie
University of California at Davis

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<body>
<br>
I finally got a chance to catch up on some reading. It occurred to me
some folks on this might find this useful.<br><br>
Mentges G.,&nbsp; <i>Fashion, Time and the Consumption of a Renaissance
Man in Germany: The Costume Book of Matth=E4us Schwarz of Augsburg,
1496-1564. </i>Gender &amp; History, November 2002, vol. 14, no. 3, pp.
382-402(21) , Blackwell Publishers Ltd, Oxford, UK and Boston, USA
<br><br>
Interesting article though what I really want is to get a translated copy
of The Costume Book of Matth=E4us Schwarz of Augsburg, 1496 -
1564.<br><br>
<x-sigsep><p></x-sigsep>
<font color=3D"#0000FF"><b>Gwyn Carnegie<br>
</font><font size=3D2>University of California at Davis <br>
</font></b></body>
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Date: Thu, 16 Jan 2003 17:26:33 -0600
Status: RO

I guess what I am basing my non-conclusion on...meaning I don't know what it is....

is that the ash is powdery and BLACK...

but you know what... I just this very second now remembered something.. I was cleaning out 
a cabinet last week, and came across a "make your own" fire kit that my children had 
received as a gift from a re-enactment site locally.  It had a flint rock, an iron bar in 
it and some "pre-burnt" linen in it...(you hit the rock with the bar over the pre-burnt 
linen and it would catch fire again from the spark, sort of like charcoal)... anyway.... 
That burnt linen was very black.  And the sample I was working with looked exactly like that..
Maybe some linen just is not a grey color.. or perhaps it is a dark shade and it just 
looks black to me?

So... I guess I am saying... "Oh? Well then, nevermind."  :D


sigh... spent the day trying to optimize my website and re-register it all over the place 
... in a haze and headed for a glass of "Baileys" to ease my pain.


Linda Thompson

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

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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: [h-cost] Re: Fabric identification...
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Date: Thu, 16 Jan 2003 18:58:52 -0500
Status: RO

Linda Thompson wrote:

>Audrey wrote:
> >I walked home with a swatch. Burn tested it. Steady flame, embers slow to
> >extinguish, natural fiber smell, but most interesting of all, powdery
> >blackish ash... Could it be something other than linen? It acts like linen,
> >it feels like linen, it's woven like linen, it burns like linen... 
> Something
> >else I should try? Or should I be happy with that and rush to buy the roll
> >next thing tomorrow morning? [:-)]

Smell the fabric. Not the burned fabric, but the fabric on the roll. I 
haven't worked enough with linen to tell you for sure, but I know most 
fibers have a distinctive odor to them that you can recognize if you put 
the unwashed fabric close to your face and inhale deeply. There should be a 
difference between linen and any other fiber.

>I found offwhite fabric that is exactly like that this past year at 
>Joannes and had the same experience. I did the burn test with washed and 
>unwashed swatches. Even split the threads up and tried that (all left that 
>black powdery ash). It does have the same hand that linen does, but the 
>wrinkles it gets when wadded up do not hold quite as crisply as linen, and 
>it is ever so slightly smoother or softer? (compared it to some real linen 
>I had on hand). I sadly suspect this is some Rayon or other man made fiber 
>from some natural product, that is a really good copy of linen.

Softer-and-smoother sounds perhaps more like cotton? Or perhaps a 
silk-cotton or silk-linen blend?

>As far as I know, the burn test can't be that far off, ...

IIRC, someone on another list just ran into a really weird burn test 
result, due to the color treatment of the fabric in question.


Brenda
webwarren@earthlink.net


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From h-costume-admin@indra.com  Thu Jan 16 21:14:47 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Agnes G" <gawne@mac.com>
Cc: "h-costume" <h-costume@indra.com>
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Subject: [h-cost] Re: Help dating a fashion plate
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Date: Thu, 16 Jan 2003 21:15:14 -0500
Status: RO

Thanks Agnes!  This was a big help.  It was so sweet of you to put them up
on the web for me to see.

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

----- Original Message -----
From: "Agnes G" <gawne@mac.com>
To: <h-costume@indra.com>; <penny@costumegallery.com>
Sent: Thursday, January 16, 2003 2:59 PM
Subject: re: Help dating a fashion plate


> I get the list in digest so this may be a little late but I think that is
a
> fashion from 1829, 1830 at the latest.
>
> I have posted a quick webpage with my images that I had here on my
computer
> from this era so you can see the ones I think are most similar to this
> plate.  I will take this page down later today so look at it quickly if
this
> is a period you care about.
>
> I have hundreds of images from 1800 to 1850 and these 3 are the closest.
>
> It's on my work website at :  http://staff.washington.edu/gawne/
> so it can't stay up there too long.
>
> I hope this helps.
>
> Agnes
> > --__--__--
> >
> > Message: 4
> > From: "Penny Ladnier" <penny@costumegallery.com>
> > To: "h-costume" <h-costume@indra.com>
> > Date: Thu, 16 Jan 2003 10:40:01 -0500
> > Subject: [h-cost] Help dating a fashion plate
> > Reply-To: h-costume@mail.indra.com
> >
> > I am trying to date a group of fashion plates.  If anyone could help I
would
> > really appreciate it.  I have eight of these plates that all seem to be
from
> > the same year.
> > http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
> > This plate is titled:
> > Evening Dress
> > expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)
> >
> > If you think it is of a given time span, please explain why you think
so.
> >
> > 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)]
> >
> >
> > --__--__--
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
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>
>


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Date: Thu, 16 Jan 2003 22:41:22 -0500
Status: RO

On Thursday 16 January 2003 03:10 pm, Melanie Wilson wrote:
> >I'm confused?  How can you weave something into that shape?
>
> I'm confused too gow can you and the ones we have bought are British MOD
> issue and about 7 pounds IMR

I don't know how authoritative this is, but in the text on his site describing 
the Glengarry Cap pattern, MoiRandall says "Unlike commercially made 
glengarrys (which are made of knit hoods shaped over a wooden block), the 
Randwulf's Glengarry pattern shows you how to form the distinct crown shape 
with seams using an ordinary sewing machine."


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Thu, 16 Jan 2003 23:27:27 -0500
Status: RO

On Thursday 16 January 2003 02:59 pm, Agnes G wrote:
> I get the list in digest so this may be a little late but I think that is a
> fashion from 1829, 1830 at the latest.

I agree, in part because of the shortness of the skirt (if memory serves, 
skirts tended to run to ankle-length or so in the late 20s, and got longer 
again in the early thirties.

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From h-costume-admin@indra.com  Fri Jan 17 01:49:37 2003
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Subject: Re: [h-cost] glengarry cap
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Date: Fri, 17 Jan 2003 06:53:25 -0000
Status: RO

>Unlike commercially made
glengarrys (which are made of knit hoods shaped over a wooden block),

A hood is a blank hat shape in wool felt you steam them and pull them over a
wooden block, thinking more about it it is possible with a trilby & many
other shapes so why not the Glen Garrie. To make one this way would be
expensive though, because of getting the hat block. I've made a few hats
this way but the hoods or capes are expensive generally. The only reasonably
priced source I've found is a hat museum in France. They did have a web page
I'll try & find it but I don't know if they do mail order. For one off
buying would be much cheaper even at US prices :)

Mel

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Subject: Re: [h-cost] glengarry cap
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Date: Fri, 17 Jan 2003 06:57:05 -0000
Status: RO

Here is a US source which might be better for more of you

http://www.hatsupply.com/woolfelts.htm

Mel

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Subject: [h-cost] Toronto, Canada : Feb 1&2, 2003 Victorian dancing
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Date: Fri, 17 Jan 2003 00:04:15 -0500
Status: RO

For those of you in or near Toronto, Ontario, Canada, here is an
opportunity to dress in your Victorian finery.  You could even wear two
different period ensembles if you wanted to switch between halves of the
evening dance!


Christine
ECD in TO
http://www.interlog.com/~cedar

----------
VICTORIAN DANCE WEEKEND with CATHY STEPHENS

February 1 and 2, Saturday and Sunday, 2003, Toronto, Ontario, Canada

Cathy Stephens is Canada's foremost instructor, historian and authority for 
19th century European and North American social dance.  She is noted for 
her clear teaching style and for leading excellent and fun dances and balls.

The Victorian Era (1840s to 1890s) is a high water mark in the history of 
social dance.  The dances of this era are some of the most fun, elegant, 
romantic, spirited, joyful and playful social dances in history.

SCHEDULE OF EVENTS

* Daytime Dance Workshops on Saturday (10:30am - 5pm) and Sunday (11:30am - 
4:30pm) taught by Cathy Stephens
* Victorian Dance on Saturday evening (8pm - midnight) with Victorian Dance 
Mistress Cathy Stephens

The first half of the dance will be mainly in an 1840s to 1860s theme, and 
the second half mainly in an 1890s theme.

PERIOD ATTIRE at the Dance is admired but not required.  Modern "dressy" 
attire is also perfectly acceptable.

For more information, see the webpage: 
http://www.interlog.com/~cedar/v.html
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Date: Thu, 16 Jan 2003 08:53:17 -0700
Status: RO

Hey, what's up? I haven't had a message since early yesterday
evening.....
Is there anybody out there, or are y'all busy with...*gasp*....sewing?
<g>
--sue
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From h-costume-admin@indra.com  Fri Jan 17 11:34:50 2003
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Subject: Re: [h-cost] Italian Camicia/partlet?
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Date: Wed, 15 Jan 2003 22:09:11 -0700
Status: RO

Embroidery.  Somehow, I think he'd do lots and lots of
embroidery....*sigh*
And handmade lace, too. <g>
*double sigh*
--sue

Audrey Bergeron-Morin wrote:
> 
> I don't know, I want to see what Bjarne can do with them, but at the same
> time I don't want to see... because what he does will always be SO BEAUTIFUL
> I won't have the heart to try for myself after seeing his work :-)
> 
> Bjarne, you're an inspiration...
> 
> From: "Margo Anderson" <margo@margospatterns.com>
> > At 08:35 PM 01/14/2003 +0100, Bjarne og Leif Drews wrote:
> >
> > >Next year i want to order Margos Patterns and then i want to start
> > >rennaissance.................
> >
> > I can't WAIT to see what you do with them, Bjarne!  and Happy Birthday!
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Fri, 17 Jan 2003 18:22:15 +0100
Status: RO

Hi!

I wondered two, not much mail today.
I am relaxing today and i am browsing Elizabeths Wardrobe Unlocked and
figuring out wich style i want to make the renaissance dress in.
Looked at Elizabeth R two and that wonderfull spanish style dress she wears
might be the style i want to make.
And you are right. I think it will be embellished with both embroidery and
black linen lace. The Tudor Rose is definately going to be in the
embroidery!!!



Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: <h-costume@indra.com>
Sent: Thursday, January 16, 2003 4:53 PM
Subject: [h-cost] Testing.....


> Hey, what's up? I haven't had a message since early yesterday
> evening.....
> Is there anybody out there, or are y'all busy with...*gasp*....sewing?
> <g>
> --sue
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Fri, 17 Jan 2003 17:37:06 -0000
Status: RO

Sue wrote:

> Hey, what's up? I haven't had a message since early yesterday
> evening.....
> Is there anybody out there

Well, i just got a group of messages, but with the exception of your
note it looks as if they were sent quite a while back...

 or are y'all busy with...*gasp*....sewing?
> <g>

Actually, I have been trying to sew; there is a difference:-)
If you, or anyone else, ever wishes to make one of the late 18th-early
19th century fur snakes, ask me about it first. I still haven't worked
out how to do it well, but I can tell you a couple of ways of doing it
badly...
The snake and the muff have taken so long to do that constructing the
gown itself looks as if it will probably be the easy part.
As for the GFD needed to go under the houpelande under construction, I
await my daughter having a day to spare to do the fitting of a toile.
I am deeply envious of your hands-on experience with Robin in this,
and grateful to you and others for getting the session together and
the pictures up on the web so that I have a place to start. Actually,
a furred houpelande is again, in some ways, easier than the GFD. Once
you grasp that the pleats are largely dictated by the pelts beneath, a
lot of the worries simply disappear. Of course, all attached linings
radically alter the way the fabric behaves, but fur dominates almost
all fabrics.

yours,
returning to the snake,
Stevie


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Date: Fri, 17 Jan 2003 12:04:42 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003, Stevie Gamble wrote:

> As for the GFD needed to go under the houpelande under construction, I
> await my daughter having a day to spare to do the fitting of a toile.
> I am deeply envious of your hands-on experience with Robin in this,
> and grateful to you and others for getting the session together and
> the pictures up on the web so that I have a place to start.

Stevie, if you haven't already found it, you might want to check my
collection of notes at http://www.netherton.net/robin . There's a set of
my posts with fitting tips, and also a handout from my workshop. Not a
how-to guide for beginners by any means, but lots of tips and shortcuts
that an experienced costumer can put to use and possibly save some
distress.

Don't know how close you are to Teddy, but he reports having done
successful fittings based on my notes, so there's at least one experienced
fitter in your vicinity.

--Robin


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Subject: [h-cost] Fur linings
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Date: Fri, 17 Jan 2003 12:14:36 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003, Stevie Gamble wrote:

> ...a furred houpelande is again, in some ways, easier than the GFD.
> Once you grasp that the pleats are largely dictated by the pelts
> beneath, a lot of the worries simply disappear. 

Well, *that's* a leading statement if ever I've heard one. Tell, tell!

And how does this relate to the several distinct pleat/fold/drape
patterns you can see on houppelands in paintings?

> Of course, all attached linings radically alter the way the fabric
> behaves, but fur dominates almost all fabrics.

This is something I've been wondering about. Obviously you have to use
multiple pelts to line a large garment. So, are the pelts attached only to
each other to form a "fabric," which just sits against the garment fabric
on the inside with attachments only at neck and hem and maybe major seams,
like any other lining? Or are they sewn singly to a "ground" lining, which
is in turn attached to the main fabric? Or are they sewn individually to
the main fabric -- in which case we would presumably see a quilting-like
pattern of stitches on the main fabric?

The latter puts me in mind of the van der Weyden painting of the
Deposition, at the Prado, with the Magdalen wearing a kirtle with
elaborate seaming that forms a sort of tiered, pieced patchwork on the
skirt. We've discussed that at length here before, wondering why the skirt
was cut in these zillions of pieces, and someone suggested that perhaps
this was the pattern of stitching holding a fur lining in place. The
stitches aren't at all in the shape of pelts -- they were tiers of
trapezoids separated by long narrow strips -- but for all I know fur was
cut into those shapes, or the fur was sewn into a solid piece that was
then quilted to the main fabric using these straight lines.

However, that's the only candidate I can think of that suggests a pattern
of stitching that might be a lining attachment. Most pictures of
houppelandes and other garments show no such lines, even if the garments
are clearly fur-lined.

Stevie, what type of fur are you using? And are you doing anything to trim
it to a short level? If so, how? I've been thinking of doing something on
this line myself; I have access to rabbit fur, but not much else.

--Robin

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Date: Fri, 17 Jan 2003 12:25:31 -0600 (CST)
Status: RO


My textile-interested librarian friend passed me this cite. This is all I
know, and I can't translate it either, but it's apparently something about
medieval textiles.

Susan Moller-Wiering, Segeltuch und Emballage:  Textilien im
mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:  Vlg. Marie
Leidorf, 2002.  Euros 66.50/$67.00 

--Robin


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Date: Fri, 17 Jan 2003 10:19:52 -0800
Status: RO

Robin wrote:

<<Susan Moller-Wiering, Segeltuch und Emballage:  Textilien im
mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:  Vlg. Marie
Leidorf, 2002.  Euros 66.50/$67.00 >>

Here what Babelfish says the German means:

Canvas and packing: Textiles in the medieval transport of goods on north 
and Baltic Sea 

Colleen
(who is still waiting for her German language book on medieval Italian silk textiles)

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Date: Fri, 17 Jan 2003 10:23:26 -0800
Status: RO

--=====================_8166265==.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

At 12:25 PM 1/17/2003 -0600, you wrote:

>My textile-interested librarian friend passed me this cite. This is all I
>know, and I can't translate it either, but it's apparently something about
>medieval textiles.
>
>Susan Moller-Wiering, Segeltuch und Emballage:  Textilien im
>mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:  Vlg. Marie
>Leidorf, 2002.  Euros 66.50/$67.00
>
>--Robin

Loosely translated:
Canvas and packing (?):  Textiles in the medieval transport of goods on 
north and Baltic Sea.




Gwyn Carnegie
University of California at Davis

--=====================_8166265==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
At 12:25 PM 1/17/2003 -0600, you wrote:<br><br>
<blockquote type=cite class=cite cite>My textile-interested librarian
friend passed me this cite. This is all I<br>
know, and I can't translate it either, but it's apparently something
about<br>
medieval textiles.<br><br>
Susan Moller-Wiering, Segeltuch und Emballage:&nbsp; Textilien im<br>
mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:&nbsp; Vlg.
Marie<br>
Leidorf, 2002.&nbsp; Euros 66.50/$67.00 <br><br>
--Robin<br>
</blockquote><br>
Loosely translated:<br>
Canvas and packing (?):&nbsp; Textiles in the medieval transport of goods
on north and Baltic Sea.<br><br>
<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_8166265==.ALT--

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From: "Agnes Gawne" <gawne@mac.com>
To: <h-costume@indra.com>
References: <BA4C4F0A.1120F%gawne@mac.com> <003201c2bdce$45e45620$0400a8c0@centrl01.va.comcast.net>
Subject: Re: [h-cost] Re: Help dating a fashion plate
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Date: Fri, 17 Jan 2003 11:13:43 -0800
Status: RO

glad to oblige - I hope it helped.
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "Agnes G" <gawne@mac.com>
Cc: "h-costume" <h-costume@indra.com>
Sent: Thursday, January 16, 2003 6:15 PM
Subject: [h-cost] Re: Help dating a fashion plate


> Thanks Agnes!  This was a big help.  It was so sweet of you to put them up
> on the web for me to see.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
>
> ----- Original Message -----
> From: "Agnes G" <gawne@mac.com>
> To: <h-costume@indra.com>; <penny@costumegallery.com>
> Sent: Thursday, January 16, 2003 2:59 PM
> Subject: re: Help dating a fashion plate
>
>
> > I get the list in digest so this may be a little late but I think that
is
> a
> > fashion from 1829, 1830 at the latest.
> >
> > I have posted a quick webpage with my images that I had here on my
> computer
> > from this era so you can see the ones I think are most similar to this
> > plate.  I will take this page down later today so look at it quickly if
> this
> > is a period you care about.
> >
> > I have hundreds of images from 1800 to 1850 and these 3 are the closest.
> >
> > It's on my work website at :  http://staff.washington.edu/gawne/
> > so it can't stay up there too long.
> >
> > I hope this helps.
> >
> > Agnes
> > > --__--__--
> > >
> > > Message: 4
> > > From: "Penny Ladnier" <penny@costumegallery.com>
> > > To: "h-costume" <h-costume@indra.com>
> > > Date: Thu, 16 Jan 2003 10:40:01 -0500
> > > Subject: [h-cost] Help dating a fashion plate
> > > Reply-To: h-costume@mail.indra.com
> > >
> > > I am trying to date a group of fashion plates.  If anyone could help I
> would
> > > really appreciate it.  I have eight of these plates that all seem to
be
> from
> > > the same year.
> > > http://www.costumegallery.com/FashionPlates/Romantic/dress2.jpg
> > > This plate is titled:
> > > Evening Dress
> > > expressly made for Ladies Magazine (pre-cursor to Godey's Magazine)
> > >
> > > If you think it is of a given time span, please explain why you think
> so.
> > >
> > > 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)]
> > >
> > >
> > > --__--__--
> >
> > [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: "Janet Davis" <castle@erie.net>
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Subject: Re: [h-cost] important old master paintings
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Date: Fri, 17 Jan 2003 14:24:48 -0500
Status: RO

I just wish they gave dates, but I guess I'm pretty good nowadays at dating
themaccording to costume :-)

If you click on the artist's name and then scroll down through the
description, most of the time a date is hiding in there.  However, on Lot
72, I have trouble believing that this painting is from the late 1500's from
her dress and belt.

Janet



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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] Fur linings
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Date: Fri, 17 Jan 2003 20:40:26 -0000
Status: RO

Robin wrote:

> > ...a furred houpelande is again, in some ways, easier than the
GFD.
> > Once you grasp that the pleats are largely dictated by the pelts
> > beneath, a lot of the worries simply disappear.
>
> Well, *that's* a leading statement if ever I've heard one. Tell,
tell!

Preamble:
Fur was used universally in western europe through this period; what
differed between social groupings was the type of fur used. So if I
forget to add luxury to furs in a sentence, please do it for me.


The luxury furs used in the, for want of a better term, houpelande
period came from small densely furred animals which naturally enough
produced small pelts, which required very large numbers to actually
make much in the way of yardage. There were a lot of seams ...

> And how does this relate to the several distinct pleat/fold/drape
> patterns you can see on houppelands in paintings?

There was, of course, some variance in size of the pelts used, both on
the individual level and in different species. Those variations will
affect the way in which the composite moves and drapes.

The thing to note is that when pressure is applied to the composites,
the most obviously by a belt, the vertical edges of the pelts will be
defined. That produces pleats, even when the fur isn't caught through
to the wool itself.

>
> > Of course, all attached linings radically alter the way the fabric
> > behaves, but fur dominates almost all fabrics.
>
> This is something I've been wondering about. Obviously you have to
use
> multiple pelts to line a large garment. So, are the pelts attached
only to
> each other to form a "fabric," which just sits against the garment
fabric
> on the inside with attachments only at neck and hem and maybe major
seams,
> like any other lining?

The luxury pelts such as squirrel were sold in blocks; the skins were
sewn together in strips or rows called tiers or fessi, and several of
these were joined together to give a rectangular shaped piece of
material called a fur (or furrura, penula, penne, pane or mantle).
The lining would most likely have had a mixture of skins, since the
visible parts were almost always in a finer fur than the rest of it;
the purfell of a garment. A gown might be lined with pured miniver,
but trimmed with ermine; thus using 4 or 5 ermine skins and perhaps
800 squirrel.
But the linings, made up of a mixture of pelts, were not simply
attached at neck, hem or whatever. If they were then the layers would
have sagged apart, which would have entirely ruined the effect. I
suspect that the lining was attached in much the same way as very
expensive curtains are interlined today; tiny stitches at large
intervals, too small to be seen, which turn the curtain 'sandwich'
into one unit.

Or are they sewn singly to a "ground" lining, which
> is in turn attached to the main fabric? Or are they sewn
individually to
> the main fabric -- in which case we would presumably see a
quilting-like
> pattern of stitches on the main fabric?

 No to both:-)
If the lining did not extend all the way it would have been bound
usually with fine leather, which again would have been caught to the
fabric itself.


> The latter puts me in mind of the van der Weyden painting of the
> Deposition, at the Prado, with the Magdalen wearing a kirtle with
> elaborate seaming that forms a sort of tiered, pieced patchwork on
the
> skirt. We've discussed that at length here before, wondering why the
skirt
> was cut in these zillions of pieces, and someone suggested that
perhaps
> this was the pattern of stitching holding a fur lining in place. The
> stitches aren't at all in the shape of pelts -- they were tiers of
> trapezoids separated by long narrow strips -- but for all I know fur
was
> cut into those shapes, or the fur was sewn into a solid piece that
was
> then quilted to the main fabric using these straight lines.

I must be even more slow this evening than usual, because I can't see
what you are referring to. The figure at the right on the Weyden
Deposition in the Prado is certainly dressed bizarrely, but I can't
see the zillions of pieces. Am I looking at the wrong painting, or the
wrong person?

> However, that's the only candidate I can think of that suggests a
pattern
> of stitching that might be a lining attachment. Most pictures of
> houppelandes and other garments show no such lines, even if the
garments
> are clearly fur-lined.

I wouldn't expect visible stitches -see above re luxury curtains:-)


> Stevie, what type of fur are you using? And are you doing anything
to trim
> it to a short level? If so, how? I've been thinking of doing
something on
> this line myself; I have access to rabbit fur, but not much else.

Squirrel. So far I haven't trimmed it, but most squirrel is relatively
shorthaired; the longer hair versions are often dyed to resemble
sable, which is fine with me for later periods. I've bought an alleged
squirrel which I think is probably weasel, but that was extensively
used also and it's even smaller than most squirrel is. If you bear in
mind that vast numbers of pelts were used in clothing (and
furnishings-counterpanes lined with squirrel were much in demand;
Edward III possessed one made from 2240 pelts) then it becomes easier
to comprehend the dominance of the fur in creating the look.
And if you use squirrel it's a great deal easier to create the pleats;
each pleat extends to one pelt. If you look at a squirrel jacket for
sale on Ebay at

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15783&item=2804
455153&rd=1

it becomes, I hope, a lttle clearer. Rabbit is an abomination upon the
face of the earth, but then I'm biased; I've been making a fur snake
out of the wretched stuff, and nothing would ever persuade me to make
another out of it. Squirrel is a delight to work with, and ermine
would be delightful for your tippets. We can but dream...

best wishes
Stevie

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Fur linings
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Date: Fri, 17 Jan 2003 15:55:55 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003, Stevie Gamble wrote:

> The thing to note is that when pressure is applied to the composites,
> the most obviously by a belt, the vertical edges of the pelts will be
> defined. That produces pleats, even when the fur isn't caught through
> to the wool itself.

OK, so what you're saying is that the width of the pelts -- which could be
as narrow as an inch or two, based on that squirrel coat in ebay you
pointed us to -- would generate the nice narrow parallel pleats under the
belt, of the sort you see on, say Giovanna Arnolfini. Do I have that
right? If so, that answers a mystery. I'm not so sure we can say the fur
determines the *direction* of the folding over the entire front area (say,
pointing to shoulder or arm or neck, in parallel or radiating or V-shape),
which seems more to do with the curves and angles of the neck, shoulder,
and arm cutting and the flare of the side seams, since I can generate
those fold combinations even without fur. But the regularity of the pleats
that form under the pressure of the belt ... yes, that makes sense that
it's breaking naturally over the regularly spaced seams of the pelts. And
it would certainly make it a lot less of a headache to replicate. While I
can generally get the angles right, making the folds regular and evenly
spaced is a struggle, and I've never held with the school of thought that
insists they're sewn in place.

> > The latter puts me in mind of the van der Weyden painting of the
> > Deposition, at the Prado, with the Magdalen wearing a kirtle with
> > elaborate seaming that forms a sort of tiered, pieced patchwork on the
> > skirt. We've discussed that at length here before, wondering why the
> > skirt was cut in these zillions of pieces, and someone suggested that
> > perhaps this was the pattern of stitching holding a fur lining in
> > place. The stitches aren't at all in the shape of pelts -- they were
> > tiers of trapezoids separated by long narrow strips -- but for all I
> > know fur was cut into those shapes, or the fur was sewn into a solid
> > piece that was then quilted to the main fabric using these straight
> > lines.

> I must be even more slow this evening than usual, because I can't see
> what you are referring to. The figure at the right on the Weyden
> Deposition in the Prado is certainly dressed bizarrely, but I can't
> see the zillions of pieces. Am I looking at the wrong painting, or the
> wrong person?

You are probably looking at the wrong reproduction. I have seen the seam
lines in person, on the painting itself, and they are visible in the
slides I took on the spot, and in perhaps one or two good reproductions I
have in books. I cannot see them on any online versions of this image, or
in most printed reproductions.

Forgive my hyperbole of "zillions," which was misleading, but "dozens"
would certainly be accurate. Here's a conversation we had on the list a
while ago, which includes the description I wrote of the skirt seams (on a
thread called "van der Weden sleeves" from January 2000). Forgive the long
quoted section; I'm combining quotes from several posts here, and snipping
a lot of extraneous stuff.

---the quoted conversation starts here---

[Robin:]
...The aforementioned Magdalen at the Prado has a waist seam, but the
skirt that is set into it is pieced of geometric shapes -- the uppermost
section of the skirt looks to be made in a row of trapezoids designed to
shape the skirt over the swell of the hips. The upper edge of the skirt is
attached to the waist seam flat, not gathered.

[Cynthia:]
> One of the Deposition from the Cross skirts (green, on the righthand
> side) almost looks like it's pleated into the waist. Maybe. 

[Robin:]
> If you're speaking of the Descent from the Cross, this is the one I
> was referring to. Magdalen is wearing a pale-mossy green dress with
> added red sleeves, and is in side view on the right. It's one of the
> Prado's most important medieval pieces. I had to see it in person to
> be sure it was not pleated, just seamed, as reproductions are
> ambiguous -- as you noticed! There are also other seams lower down in
> the skirt, quite unusual.

[Teddy:]
> I'd agree with Robin on this one. From looking at this one (on the web
> so I may be missing details) it looks to me as if there's a "waist"
> seam at the back of the dress (under the belt)  and a flared skirt
> sewn to it - the flare of the skirt piece causes it to fall in those
> folds that look like spaced pleats... again, that's just *my* take on
> it.

[Robin:]

> And this is why reproductions can be so misleading... I am looking at
> two reproductions right now, and one of them looks as Teddy described.
> 
> The other, closer up and in better color, reveals this: There is a
> waist seam at the natural waist, above the belt, with a pieced skirt
> set into it flat (no gathers or pleats). Below the waist (about two
> inches below at the back) is draped a separate mantle of
> almost-but-not-quite the same greyish-green. This forms the folds that
> Teddy is referring to. The mantle is folded over at the top, and that
> fold is what Teddy saw as a seam. I suspect that Teddy can't see *any*
> of the real skirt seams in the image he was looking at.
> 
> The mantle falls over her left hip and leg. At the bottom of the
> image, you can see that the skirt has a grey fur border about a foot
> wide; the mantle falling over it does not.
>
> In front, under pressure of the belt, the skirt does fall into folds,
> but these are indeed folds generated from a flare, not originating
> with a pleat.
> 
> You can see this much from two facing-page images in one excellent
> book: _Prado Madrid_, part of the "Newsweek Great Museums of the
> World" series. I have several books in this series, all very pretty.
> They are on the shelves of MANY used book stores -- look in the
> oversize art sections. I paid only $7.50 for my Prado book, and the
> closeup of the Magdalen's torso is worth that alone.
> 
> For the seams in the rest of the skirt, I had to go to Madrid:
>
> [Quoting Teddy] > The other seams on the skirt don't show up in the web
> version of the picture, Robin... Could it be that the skirt was
> "pieced" together from smaller pieces of cloth? 
>
> It sure looks that way. But the piecing looks intentional -- it's very
> regular, like an elaborate patchwork. It doesn't look like the piecing
> you'd do if you were short on fabric. Maybe it was done for shaping.
> It consists of four narrow horizontal strips, spaced in tiers,
> separating five taller areas made up of rectangualr (actually slightly
> trapezoidal) panels. In the top row of panels (which is set into the
> waist seam), there are six panels, each maybe two inches wide and four
> inches tall, visible along her left upper hip. At lower levels, the
> panels are wider and taller. 
> 
> In the front, the skirt (and presumably bodice) is fastened with a
> cord laced through sewn-on rings. The cord goes through every other
> ring on each side, making a zigzag pattern. The rings are sewn to a
> panel of the skirt that is is a vertical strip an inch or two wide; it
> is longer than the other panels in the top row.
>
> The Prado book only shows the top row of panels; the other seams
> farther down are not visible.

---quoted section ends here---

Looking back at the shapes here, I would think the panels are not related
to pelt shapes, as the trapezoids become larger in lower tiers, as would
make sense for the flare of the skirt, not some piecing of regular pelts.
But it could be that it's all an elaborate quilting of the fur lining to
the skirt fabric.

> And if you use squirrel it's a great deal easier to create the pleats;
> each pleat extends to one pelt. If you look at a squirrel jacket for
> sale on Ebay at
> 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15783&item=2804
> 455153&rd=1
> 
> it becomes, I hope, a lttle clearer. 

Yes, that does help. And the jacket is cheap. A good buy, do you think,
for reclaiming the fur?

Where did you get your squirrel? Squirrels are hated around here, but it's
illegal to kill them. When we had them in our attic, we had to get a
special exterminator to trap them and release them in a rural area.

> ... and ermine would be delightful for your tippets. We can but
> dream...

Yeah. Ermine, right. I have less call even for squandering cash on luxury
furs or fabrics because I don't even have a reason to wear the things I
make; I sew just to see how the constructions work out.

--Robin

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
References: <Pine.LNX.4.10.10301171509030.28154-100000@shell.nightowl.net>
Subject: Re: [h-cost] Fur linings
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Date: Fri, 17 Jan 2003 23:31:48 -0000
Status: RO

Robin wrote:

> > The thing to note is that when pressure is applied to the
composites,
> > the most obviously by a belt, the vertical edges of the pelts will
be
> > defined. That produces pleats, even when the fur isn't caught
through
> > to the wool itself.
>
> OK, so what you're saying is that the width of the pelts -- which
could be
> as narrow as an inch or two, based on that squirrel coat in ebay you
> pointed us to -- would generate the nice narrow parallel pleats
under the
> belt, of the sort you see on, say Giovanna Arnolfini. Do I have that
> right?


Yes.

> If so, that answers a mystery. I'm not so sure we can say the fur
> determines the *direction* of the folding over the entire front area
(say,
> pointing to shoulder or arm or neck, in parallel or radiating or
V-shape),
> which seems more to do with the curves and angles of the neck,
shoulder,
> and arm cutting and the flare of the side seams, since I can
generate
> those fold combinations even without fur. But the regularity of the
pleats
> that form under the pressure of the belt ... yes, that makes sense
that
> it's breaking naturally over the regularly spaced seams of the
pelts. And
> it would certainly make it a lot less of a headache to replicate.
While I
> can generally get the angles right, making the folds regular and
evenly
> spaced is a struggle, and I've never held with the school of thought
that
> insists they're sewn in place.

 The only thing that I would add here is that there is a strong
vertical pressure from the pelts which does alter folds in other
directions; the angles may not work in quite the way you envisage with
that addition.

Thank you for the info on the Deposition; snipped and saved! I will
try and track down a decent reproduction to follow this up.

> > And if you use squirrel it's a great deal easier to create the
pleats;
> > each pleat extends to one pelt. If you look at a squirrel jacket
for
> > sale on Ebay at
> >
> >
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15783&item=2804
> > 455153&rd=1
> >
> > it becomes, I hope, a lttle clearer.
>
> Yes, that does help. And the jacket is cheap. A good buy, do you
think,
> for reclaiming the fur?

If it stays anything like that cheap, yes! Prices can get quite high
for squirrel, but there are a fair number around so it's worth a
search every now and then.
>
> Where did you get your squirrel?

Ebay! Buying fur in England is almost impossible, so Ebay it has to
be. Grey squirrel is rare, but if anyone wants to mimic the *look* of
the grey fur then they could buy the cutter craft blue mist muskrat
coats which come up fairly often on Ebay and shear the brown fur ends
off.

best wishes
Stevie, returning to that dratted rabbit...

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Subject: [h-cost] The Deposition by Van der Weyden-curious: was Fur linings
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Date: Fri, 17 Jan 2003 17:17:02 -0700
Status: RO

> > The latter puts me in mind of the van der Weyden painting of the 
> > Deposition, at the Prado, with the Magdalen wearing a kirtle with 
> > elaborate seaming that forms a sort of tiered, pieced patchwork on 
> > the skirt. We've discussed that at length here before, wondering why

> > the skirt was cut in these zillions of pieces, and someone suggested

> > that perhaps this was the pattern of stitching holding a fur lining 
> > in place. The stitches aren't at all in the shape of pelts -- they 
> > were tiers of trapezoids separated by long narrow strips -- but for 
> > all I know fur was cut into those shapes, or the fur was sewn into a

> > solid piece that was then quilted to the main fabric using these 
> > straight lines.

What am I missing?-I guess I don't see which gown is being discussed.
Could someone set me straight?

http://www.abcgallery.com/W/weyden/weyden1.html

Sg



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Date: Fri, 17 Jan 2003 19:18:14 EST
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I should probably delurk for my own good, seeing as how historical costumes 
will be my primary focus for the next three months.  So, hi there!  My name 
is Christine, and I'm a fairly inexperienced seamstress hailing from the New 
York area.  I'm planning to attend CostumeCon in April, and that is what has 
brought me to this list: I'll be making at least two costumes, and the two 
"definite" costumes are both historical.  One piece will be from about 1350, 
and the second will be from the Roaring 20's.  If anyone has a suggestion for 
a historically accurate surcoat pattern (other than the suggestion to draft 
one myself), feel free to chime in, as I'm told that in order to compete, 
I'll need to make sure that my piece is historically accurate.  

Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I should probably delurk for my own good, seeing as how historical costumes will be my primary focus for the next three months.&nbsp; So, hi there!&nbsp; My name is Christine, and I'm a fairly inexperienced seamstress hailing from the New York area.&nbsp; I'm planning to attend CostumeCon in April, and that is what has brought me to this list: I'll be making at least two costumes, and the two "definite" costumes are both historical.&nbsp; One piece will be from about 1350, and the second will be from the Roaring 20's.&nbsp; If anyone has a suggestion for a historically accurate surcoat pattern (other than the suggestion to draft one myself), feel free to chime in, as I'm told that in order to compete, I'll need to make sure that my piece is historically accurate.&nbsp; <BR>
<BR>
Christine</FONT></HTML>

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] Fur linings
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Date: Fri, 17 Jan 2003 18:33:21 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003, Stevie Gamble wrote:

>  The only thing that I would add here is that there is a strong
> vertical pressure from the pelts which does alter folds in other
> directions; the angles may not work in quite the way you envisage with
> that addition.

Good point. There are enough variations that I'd have to play with each.
On Giovanna Arnolfini, I can see how the pattern of folds -- sort of a
sunburst or fan shape radiating from the center front under the belt --
could have started as parallels, and the fan shape created by drawing some
to the center front, but that would also require the curves in the cut of
the shoulder and arm areas that I'm thinking of to allow for the fabric to
be drawn forward. So I don't see a conflict there (but I'd have to try it
to be sure).

Other fold patterns might be less conducive to working out as a set of
parallels, but then, not *all* gowns were lined in fur; a summerweight
gown might be lined in silk, for instance, and a middle-class version
might not have the full fur lining. Even with the strong presence of fur,
there's plenty of documentary evidence for garments lined in silk or
linen, so some images and construction methods would not be fur-dependent.
It may be that some of the visual differences reflect the same
construction done with vs. without fur.

Do you find that the seams of the pelts create ridges that would show
underneath the wool? I haven't seen those ... on Giovanna, again to take
the convenient example (I can bet nearly everyone has access to a good
repro), the fabric is pressed pretty flat over the protrusion of the
bosom, but no signs of ridges that I can see.

Failing having actual fur, what do you think might work as an
approximation to achieve the same responses in a lining? e.g. something
heavy with quilting in patterns imitating pelt sizes/shapes to encourage
creases to fall in certain spots?

--Robin


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Date: Fri, 17 Jan 2003 18:32:39 -0600
Status: RO

I'm sure that Robin can give a re-cap of her research into sideless
surcotes (or you could come to her lecture series at Costume Con, but
that might be a bit late!), but you can enter anything with a historical
basis in the Historical Masquerade. Winning an award at the Historical
Masquerade is what will require historical accuracy. There will be a
workmanship judge and your research and documentation will be reviewed
during the general judging process. Don't forget that there will be three
level of competition- novice, journeyman, and master- and the criteria
for a novice level entry is much more forgiving than the criteria for a
master level entry. 


Everybody come to Costume Con!!! We'll have a fabulous time!


Karen
Programming Chair 
Costume Con 21

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] The Deposition by Van der Weyden-curious: was Fur
 linings
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Date: Fri, 17 Jan 2003 18:51:31 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003, Saragrace Knauf wrote:

> What am I missing?-I guess I don't see which gown is being discussed.
> Could someone set me straight?
> 
> http://www.abcgallery.com/W/weyden/weyden1.html

Magdalen, at the far right. Green gown with wide fur border at the hem,
red pin-on sleeves, grey mantle draped over her left hip. The mantle
partly obscures the skirt, but you can see it on her right leg all the way
to the bottom. But you won't see any seams on this image, or probably on
any online image. Get to a library and look up the book I mentioned
earlier, for at least a taste of the seaming. Bear in mind that the
original painting is HUGE, and a lot of detail is lost in the
miniaturization.

Most people looking at the seams focus on the bodice, which has an
elaborate seam pattern that has inspired much theorizing. I find the skirt
as interesting, but no one talks about it, maybe because it's not easily
found in reproduction. I got my first detailed look in person, and took
slides and made sketches.

I know most people can't get to Madrid on a whim, but if you find yourself
near Tournai (Belgium), look in the art museum and see if they still have
the van der Weyden exhibit up. When I was there about 10 years ago, there
was an exhibit with full-size photoreproductions of most of his paintings,
as he was a local boy originally, though he did the vast majority of work
after he got out of town.

There is, otherwise, little in Tournai to see from a medievalist's
standpoint: a nice archaeology museum that gets little notice or respect,
the Cathedral treasury, and the tapestry museum that is entirely modern
except for the four or five medieval tapestries that are all that remain
in the city of its once-great tapestry industry. When I saw them they were
being exhibited in abominable conditions and I do not expect them to
survive long.

--Robin

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Date: Fri, 17 Jan 2003 17:06:11 -0800
Status: RO

BTW, I went last week and bought the rest of the bolt!  It was the 
best fabric there.

Thanks,

Fran

Theresa Eacker wrote:
> To Fran-
> 
> At Norman Bernie's, in Burlingame, on Rollins Road.

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Date: Fri, 17 Jan 2003 17:39:17 -0800
Status: RO

To Fran-

Congratulations!!!! I'd been longing for this fabric for about 3 years. 
  BTW, in a little side room, there was another silk embroidered in 
butterflies that is also very charming. Doesn't seem to you that 
Elizabethan costuming could be accomplished here?  Also, some very 
wonderful brocades for 18c sacque-back gowns.  Gawd, the giant sucking 
sound is my husband's bank account wheezing from the outflow!!!

Theresa Eacker

Lavolta Press wrote:

> BTW, I went last week and bought the rest of the bolt!  It was the best 
> fabric there.
> 
> Thanks,
> 
> Fran
> 
> Theresa Eacker wrote:
> 
>> To Fran-
>>
>> At Norman Bernie's, in Burlingame, on Rollins Road.


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Date: Fri, 17 Jan 2003 17:49:42 -0800
Status: RO


Theresa Eacker wrote:
> To Fran-
> 
> Congratulations!!!! I'd been longing for this fabric for about 3 years. 

They'd _had_ the bolt for three years?  Or do they restock the same 
fabrics regularly?

>  BTW, in a little side room, there was another silk embroidered in 
> butterflies that is also very charming. Doesn't seem to you that 
> Elizabethan costuming could be accomplished here?  Also, some very 
> wonderful brocades for 18c sacque-back gowns. 

They had some nice floral-and-striped upholstery brocades.  I was a 
bit divided about their stock in general.  Their home-dec emphasis 
means a lot of heavy weight stuff.  Sometimes it's hard to get a 
brocade any other way though.

BTW, have you ever been to a store called, I think, Discount Fabrics 
  on I think, Ashby and San Pablo in Berkeley?  It's similar, though 
with more plain fabrics and more clothing weights. Some of their 
prices are really good.  Last time I was there they had some nice 
embroidered voiles, probably meant for drapes, but which would work 
for sheer Victorian dresses.
Fran


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Subject: [h-cost] Image from sotheby's auction
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Date: Sat, 18 Jan 2003 15:11:00 +1100 (EST)
Status: RO

Hi all,

I'm just now going through all the wonderful images
from this auction catalogue - wow! 

I was wondering what the red jacket-like garment worn
by this lady is called, and is she from the late 18th
or early 19th century?

<http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXNV>


Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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From: Robin Netherton <robin@shell.nightowl.net>
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Date: Fri, 17 Jan 2003 23:31:04 -0600 (CST)
Status: RO


On Fri, 17 Jan 2003 IceGirlNIN@aol.com wrote:

> I'm planning to attend CostumeCon in April, and that is what has
> brought me to this list: I'll be making at least two costumes, and the
> two "definite" costumes are both historical.  One piece will be from
> about 1350, and the second will be from the Roaring 20's.  If anyone
> has a suggestion for a historically accurate surcoat pattern (other
> than the suggestion to draft one myself), feel free to chime in, as
> I'm told that in order to compete, I'll need to make sure that my
> piece is historically accurate.

If you've never done medieval clothing, I'm afraid you'll find it hard to
gain the basic knowledge you'll need for creating something close to
historically accurate in three months. Sewing methods and materials at
that time were drastically different from modern, and people who do
serious work in this area generally find they have to re-learn much of
what they know about handling fabric in order to move away from the
"modern interpretation" of medieval. It can take a lot of study and
experimentation to figure out how to make things work right and look right
-- or even what "right" means, because you need to train your eye as well
as your hands and brain. I'm still learning, and I've been at it for 25
years.

On the other hand, that doesn't mean you shouldn't go for it -- just that
you'll need to be aware of what you can accomplish within your time
limitations, and set your sights accordingly. As Karen said, there are
several categories for entries -- go for novice -- and I believe there's
also a distinction between "historical reproduction" and "historically
inspired." If I understand the rules, you want the latter, which means
you'd be aiming to achieve a *visually* historic look, and you're not
required to use historically accurate techniques to achieve it. You also
don't need to have historically accurate materials, undergarments, etc.,
which would probably be a bit much to bite off at this point.

Given that goal: there are a handful of books with theatrical-based
patterns for medieval clothing, including surcotes (Hill and Bucknell,
Iris Brooke, others). I know of no source -- book or pattern -- that
produces a historically accurate sideless surcote, so it's reasonable that
a novice seeking a "historically inspired" costume source would be on
solid ground to use one of the modern patterns despite their flaws. You'll
get the general idea of the look, at least. (Avoid Peacock. His surcotes
are wretched.)

For more inspiration, look to artwork, not costume books, and train your
eye to what's really from the period. Hit the oversize shelves at the
library for coffee-table books on art and history of this period. Look for
illustrated books about famous people of this time (e.g. Chaucer), events
(e.g. the Hundred Years War), rulers (the particular kings of your target
place/time), culture (life in a medieval castle/village, medieval trades,
tournaments), art (esp. manuscripts), etc. Once you find a few useful call
numbers, you'll find the books grouped together on the shelves. Get the
look of the real art in your head, find some images of costumes that
please you, and copy the headdress, colors, accessories, etc. from those.
Xerox them for your documentation. Oh -- make sure the dates on your
images are from the same time/place slice, as styles changed rather
quickly in the 14th century. And avoid saints, religious figures, angels,
and allegorical figures. Bear in mind that many of the women pictured will
be queens, and dressed royally -- which may be what you go for, but don't
confuse the royals with the non-royals. (Hint: You're most likely to find
sideless surcotes on women of royal blood, particularly if they're the
kind with fur.)

And as Linda said: If you want chapter and verse on surcotes -- how they
developed, who wore them and when, how they might have been made -- I'll
be lecturing on that topic at CostumeCon. I can't teach it by email, I'm
afraid. I'll also be giving another lecture about the Gothic fitted dress,
which goes *under* the surcote. Too late for your use in preparing for
CostumeCon, but if you're still interested in the topic by the time you
get there, please come by.

--Robin





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Date: Fri, 17 Jan 2003 23:28:12 -0800
Status: RO


To Fran:

> They'd _had_ the bolt for three years?  Or do they restock the same 
> fabrics regularly?


They restock.  About 1 1/2 years ago that silk sold out briefly and they 
refilled the order fairly quickly.


>BTW, have you ever been to a store called, I think, Discount Fabrics  on 
> I think, Ashby and San Pablo in Berkeley?  It's similar, though with 
> more plain fabrics and more clothing weights. Some of their prices are 
> really good.  Last time I was there they had some nice embroidered 
> voiles, probably meant for drapes, but which would work for sheer 
> Victorian dresses.


Oh, goody, another store to snoop around.  Thanks for the new lead!!!

Theresa Eacker


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Subject: Re: [h-cost] New Member
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Date: Sat, 18 Jan 2003 00:06:06 -0800
Status: RO


>  as I'm told that in order to compete, I'll need to make sure that my 
> piece is historically accurate.

There used to be two different ways to go into historical 
competition.  Assuming the following is still true, there will be 
historical re-creation, what I call the '3-D Xerox school of thought', and 
historical interpretation, what I call the 'take an idea and run with it' 
school of thought.  The book 'The Costume Maker's Art' has several examples 
of both kinds of historicals.

Historical re-creation is just what you heard - as authentic as possible, 
scholarly footnotes please.  I've seen some pretty amazing things go on 
into this category, including months of killer embroidery, many yards of 
hand-painted silk fabric, whole outfits entirely hand-stitched, etc., in 
the pursuit of theoretical perfection.  FYI, they usually run these 
competitions in three divisions, which amount to beginner, intermediate, 
and advanced (sometimes mistakenly called 'pro'), plus a children's 
division if there are kids.  This way beginners are only judged against 
beginners, etc.  If your goal is authentic, I'd enter here, in the 
beginner's division.

Many people differ in their interpretation of what an interpretation 
is.  I've seen re-enactors put their most authentic garb into this, on the 
assumption that it was 'only an interpretation'.  OTOH, I've seen some 
truly wacked interpretations, done for the sake of humor, like the lady who 
postulated what Marie Antoinette would have looked like if her dress maker 
had gone Biker-Punk.  The documentation on that outfit was amazingly 
thorough, so the creator would not miss a single opportunity to do things 
"wrong".  (The hair was the perfect style, but had a Harley in it, the 
black leather jacket said 'let them eat cake' on the back in rhinestones, 
etc..)

Then there are the Workmanship Awards.  These are the up-close 
craftsmanship awards, which, in a convention full of costume makers, are 
pretty significant awards.  These recognize outstanding examples of 
pattern-making, beading, embroidery, etc.  Workmanship judging is optional 
for the entrants, and no 'points' are lost if one skips the workmanship 
judging entirely.  I have been a historical masquerade judge three times at 
CostumeCons, and compete in the advanced division, but am proudest of my 
workmanship awards because I think they are the hardest to get.  But many 
beginners have won these, and many in the advanced division have not.

Then there are Hall Costume Awards, given to folks seen around the halls of 
the convention facility, not in the big costume shows.  The incognito 
judges find the best costumes they can find, and give them award ribbons 
impromptu.

Kayta

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Fur linings
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Date: Sat, 18 Jan 2003 10:23:24 -0000
Status: RO

>Ebay! Buying fur in England is almost impossible, so Ebay it has to
be. Grey squirrel is rare, but if anyone wants to mimic the *look* of
the grey fur then they could buy the cutter craft blue mist muskrat
coats which come up fairly often on Ebay and shear the brown fur ends
off.

There are a few places, but it tend to be over expensive :(

I've worked with rabbit it was OK

Do you happen to have the refs for your fur lining info please ?

Mel

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Subject: Re: [h-cost] Image from sotheby's auction
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Date: Sun, 19 Jan 2003 00:19:46 +1300
Status: RO

> I was wondering what the red jacket-like garment worn
> by this lady is called, and is she from the late 18th
> or early 19th century?
> <http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXNV>

Late 18th, probably around 1790? Waistline is still low but the sleeves are
plain and tight and long and her hair is in the loose casual style but with
long defalted ringlets.. not my area of expertise, but I'd be surprised if
it was ater that the early 90s.. though the very round breasts are giving me
a bit of pause for thought... as in how very defined they are.

Looks softer less fullt han what I think of the 1780s as....

michaela
http://recital.tripod.com/costume


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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
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Subject: Fw: [h-cost] Image from sotheby's auction
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Date: Sat, 18 Jan 2003 08:27:04 -0500
Status: RO

 I think this picture has to be about 1835  It is hard to see the bodice of
the gown. If you consider the dates of the artist,  that would help to
pinpoint the time.  As for the red wrap, my guess is that it is a stole in
velvet and fur.  If you recall the mink stoles of the mid 20th century, you
will have the shape.
Kathleen
----- Original Message -----
From: "Bella" <bella_lucia_da_verona@yahoo.com.au>
To: <h-costume@indra.com>
Sent: Friday, January 17, 2003 11:11 PM
Subject: [h-cost] Image from sotheby's auction


> Hi all,
>
> I'm just now going through all the wonderful images
> from this auction catalogue - wow!
>
> I was wondering what the red jacket-like garment worn
> by this lady is called, and is she from the late 18th
> or early 19th century?
>
> <http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXNV>
>
>
> Bella
>
> http://movies.yahoo.com.au - Yahoo! Movies
> - What's on at your local cinema?
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Sat, 18 Jan 2003 08:46:57 -0500
Status: RO

This is a multi-part message in MIME format.

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Looking at the hair style certainly places the picture before the 1830s, =
and with the intervening styles of the Napoleonic era, it has to be =
before  nineteen hundred.  The volume of the skirt is too much for the =
later period now that I view it again. The mode as inspired by David =
could account for the plainness of the ornamentation of the gown as =
presented, although this would be an early example of the Greek revival =
style. The picture puts me in the mind of a Gainsborough.                =
                                                                         =
                                                                         =
                  Kathleen (who is still waking up)                      =
                              =20

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<DIV><FONT size=3D2>Looking at the hair style certainly places the =
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the 1830s, and with the intervening styles of the Napoleonic era, it has =
to be=20
before&nbsp;&nbsp;nineteen hundred.&nbsp; The volume of the skirt is too =
much=20
for the later period&nbsp;now that I view it again. The mode as inspired =
by=20
David could account for the plainness of the ornamentation of the gown =
as=20
presented, although this would be an early example of the Greek revival =
style.=20
The picture puts me in the mind of a Gainsborough.&nbsp;&nbsp;&nbsp;=20
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Subject: [h-cost] Working woman's -Italian-was: Italian Camicia/partlet?
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Date: Sat, 18 Jan 2003 07:45:30 -0700
Status: RO

Thank you for pointing us to these.  I love the detail.  Is anyone aware
of another Italian artist who does this genre of painting?

Sg

>
>http://gallery.euroweb.hu/html/c/campi/vincenzo/index.html

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Fur linings
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Date: Sat, 18 Jan 2003 15:45:18 -0000
Status: RO

Mel wrote:


> Do you happen to have the refs for your fur lining info please ?
>

Indeed; I gave these references a little while ago in the discussion
on Robin's tippets:


Elspeth Veale's The English Fur Trade in the Later
Middle Ages.' Oxford University Press, Oxford, 1966

'Fur in dress', by Elizabeth Ewing,
Batsford, London, 1981.


best wishes
Stevie

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Date: Sat, 18 Jan 2003 09:20:55 -0700
Status: RO

Wouldn't that depend on the type of seams used? I'm not a fur person
(outside of dealing with 4 living cats on a daily basis <g>), but what
if you, say, trimmed the fur real short near the edge of each skin, and
then overlapped two edges to sew them together?
Heck, if you were being really finicky, you could even trim one edge,
but not the other, which could give you close to the same "thickness"
right over the seam.....
Maybe  you could use a fake fur, appropriately trimmed and cut into
pelt-sized pieces, to try the fur lining? My cats have (rather
helpfully) suggested leaving the garment out on the couch until they sit
on it long enough to add a layer of their own, but somehow <g>, I don't
think that's what you had in mind!
--sue

Robin Netherton wrote:
> 

> Do you find that the seams of the pelts create ridges that would show
> underneath the wool? I haven't seen those ... on Giovanna, again to take
> the convenient example (I can bet nearly everyone has access to a good
> repro), the fabric is pressed pretty flat over the protrusion of the
> bosom, but no signs of ridges that I can see.
> 
> Failing having actual fur, what do you think might work as an
> approximation to achieve the same responses in a lining? e.g. something
> heavy with quilting in patterns imitating pelt sizes/shapes to encourage
> creases to fall in certain spots?
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Subject: [h-cost] Re:  Fur linings
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Date: Sat, 18 Jan 2003 11:36:06 -0500
Status: RO

On Fri, 17 Jan 2003 12:14:36 -0600 (CST), Robin Netherton 
<robin@shell.nightowl.net> wrote:

>The latter puts me in mind of the van der Weyden painting of the
>Deposition, at the Prado, with the Magdalen wearing a kirtle with
>elaborate seaming that forms a sort of tiered, pieced patchwork on the
>skirt.

I'm trying to see this "patchwork" you're talking about, and missing it 
utterly... Am I looking at the correct image? (Web Gallery of Art, or p. 
338 of _The Prado_, Santiago Alcolea Branch, Abradale Press/Harry N. 
Abrams, ISBN 0-8109-8147-5)? If so, which figure are you talking about? The 
one in olive, on the left, supporting the Virgin, with the cut-velvet 
undergarment and fur-lined houpe? The one on the right, with what looks 
like a guarded skirt on a GFD?


Brenda
webwarren@earthlink.net


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Subject: [h-cost] Re: fur linings (apology)
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Date: Sat, 18 Jan 2003 12:02:14 -0500
Status: RO

Should have looked through the rest of the digests before responding. 
Robin, I think I can see what you're hinting at... I can see the [gores?] 
at the waistline, though they look more like there are a couple of 
triangular ones (center front and side-seam-pointed-towards the back)) set 
between the more trapezoidal or rectangular ones. I almost think I can see 
what you're referring to in terms of the vertical layers; if so, my eye 
took them for irregularities in the printed reproduction...


Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] Re: Fabric identification...
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Date: Sat, 18 Jan 2003 13:42:31 -0600 (CST)
Status: RO


> How can you tell rayon from linen?

With a microscope.   Get a decent kids' microscope, fray out a few
individual fibers and mount them on a glass (or plastic, if it's an
overprotective kids' microscope) plate and look at it under magnification.

Rayon will look like spagetti: round cross-section, consistant width along
the whole fiber.

Linen looks a little like bamboo, it has nodules (thick spots) along the
length of the fiber.  It is much less perfect than rayon.

Cotton is more ribbon-like.  It has an indentation along the length of the
fiber, like a partially deflated inner tube.

When I took an introduction to textiles class, we were taught to use burn
tests only for general classification, and other tests for specific
identification.

Cellulosics when burned smell like paper: use a microscope to identify
further.  Rayon tends to burn more completely, and some people can
appearently distinguish cotton and linen by the odor of the smoke and ash,
but I can't, and I'm not sure it can be discribed in words.  You might
burn known samples and see if you notice anything.  As I recall, the
difference was like the difference between burning leaves and burning
paper.

Protein fibers smell like hair when burned. Use a microscope to identify
(wool has scales, silk is smooth and looks similar to rayon)  Protein
fibers will also dissolve in bleach.

Synthetics bead up and generally smell bad.  Use a variety of solvents to
determine which is which.

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Date: Sat, 18 Jan 2003 13:54:29 -0600
Status: RO

On Sat, 18 Jan 2003 00:06:06 -0800
 Carolyn Kayta Barrows <kayta@frys.com> wrote:

> There used to be two different ways to go into historical
> competition.  Assuming the following is still true, there
> will be historical re-creation, what I call the '3-D
> Xerox school of thought', and historical interpretation,
> what I call the 'take an idea and run with it' school of
> thought.  The book 'The Costume Maker's Art' has several
> examples of both kinds of historicals.

This is still true.  If you haven't already, you should
read the rules for the masquerade:

http://www.jennifarse.com/cc2003/historical.htm


> Then there are the Workmanship Awards.  These are the
> up-close craftsmanship awards, which, in a convention
> full of costume makers, are pretty significant awards.
>  These recognize outstanding examples of pattern-making,
> beading, embroidery, etc.  Workmanship judging is
> optional for the entrants, and no 'points' are lost if
> one skips the workmanship judging entirely.  I have been
> a historical masquerade judge three times at CostumeCons,
> and compete in the advanced division, but am proudest of
> my workmanship awards because I think they are the
> hardest to get.  But many beginners have won these, and
> many in the advanced division have not.

OK.  This is not correct.  It may have been at one time,
but there have been some changes over the years.

First, workmanship judging is NOT optional in the
Historical masquerade.  It's part of the "pre-judging" all
contestants must sign up for.  At that time, the judges
will compare the outfit to the documentation you have
already turned in (and whether you're doing a recreation or
an interpretation, you *really* should have some sort of
documentation).

In the past, no separate workmanship or documentation
awards were given in the Historical masquerade - everything
was lumped together.  One set of judges a few years ago
thought that wasn't right; if the Fantasy and Science
Fiction masquerade had a separate workmanship award, then
the Historical masq. should too; plus, they felt
documentation was not being given its due, and deserved an
award as well.

SO, now there are 3 sets of awards in Historical:
 presentation, workmanship, and documentation.  You can win
Best in Show in any of these categories, although there
will also be one overarching Best in Show, which represents
the best combination of all 3 aspects.

Good luck to you.  I'll see you there, as I'm also
competing in the Historical masq., as well as doing some
other things - will you be doing anything for the Future
Fashion show?  Lots of good designs still available!

Karen
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Fur linings
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Date: Sat, 18 Jan 2003 20:17:49 -0000
Status: RO

Robin wrote:

> Other fold patterns might be less conducive to working out as a set
of
> parallels, but then, not *all* gowns were lined in fur; a
summerweight
> gown might be lined in silk, for instance, and a middle-class
version
> might not have the full fur lining. Even with the strong presence of
fur,
> there's plenty of documentary evidence for garments lined in silk or
> linen, so some images and construction methods would not be
fur-dependent.
> It may be that some of the visual differences reflect the same
> construction done with vs. without fur.

Of course; hence my proviso that I was discussing the luxury furs used
by the elite and not the generality of costume aross the board. At the
top end of the scale a sute of clothes for kings and princes, with
between 4 and nine garments in it, would usually all be furred with
the exception of a tunic. Proceeding down the scale we have a tanner's
wife who would take the air each day in her super-tunic of squirrel ,
and at the very bottom we would find the destitute whose only clothes
were of animal skins. I suspect that the tanner's wife and her friends
may have endeavoured to drape their garments  in the hope of conveying
the impression that they were lined with the finest ermine, and that
the very rich were happy with silk linings when they were more
comfortable, or more desirable in other ways. You may recall the
cautionary tales I mentioned of girls meeting suitors in unfurred
gowns to slim themselves down a bit, and finding their charms greatly
dinished by the fact that they were purple with cold. Given that they
might be wearing three furred garments one on top of another I can
sympathise:-)
One point about Weyden's Deposition which should be noted is that it
was fairly late in the reign of the northern squirrel. Cutting edge
wealthy furs were beginning to move to  brown, sable, marten and so
on, as probaby depicted on the figure at the Magdalene's left. Of
course it continued to be worn, and sable has many of the
characteristics of squirrel; it is incredibly soft and incredibly
light. So the dress is transitional; one more reason to view the
Magdalene's costume with caution.


> Do you find that the seams of the pelts create ridges that would
show
> underneath the wool?

No. The point here is that the fur of the northern squirrel and its
near relatives is incredibly soft and light. Well tanned good quality
squirrel pelts are thin and supple, and without one for comparison I'd
suggest you imagine the finest pair of leather gloves that you have
ever seen and touched. That sort of skin doesn't create hard ridges.
Such pelts are though, by comparison with other fur bearers, delicate,
and need looking after.


>I haven't seen those ... on Giovanna, again to take
> the convenient example (I can bet nearly everyone has access to a
good
> repro), the fabric is pressed pretty flat over the protrusion of the
> bosom, but no signs of ridges that I can see.

Neither can I; if you do come across a garment which looks like that
it may indicate another fur being used.

> Failing having actual fur, what do you think might work as an
> approximation to achieve the same responses in a lining? e.g.
something
> heavy with quilting in patterns imitating pelt sizes/shapes to
encourage
> creases to fall in certain spots?

I've been playing around trying to come up with something for you, but
so far I've drawn a blank. Synthetic wadding is worse than useless,
and the odd bits of faux fur that I dug out are almost as bad.
Something like bump or domette might work but mine is in a carton at
the most inaccessible spot in my storage cupboard, and that would take
a couple of days to empty it all out. You should bear in mind that
there will be a friction effect as well from the pile of the fur; you
might try quilting a firm velvet over wadding. That's my best guess at
the moment; I wish my budget would run to getting to Costume-con to
attend your (and all the other) marvellous seminars, so I could
demonstrate it, but even if I could get a cheap flight the single room
surcharges in hotels are pretty dire. Perhaps if I stop buying things
for costumes...

best wishes
Stevie

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Date: Sat, 18 Jan 2003 15:32:15 EST
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This looks like 1790, at the latest, to me, unless it is a revival 
piece--that is, the artist painted it later, but in the earlier style.  Hard 
to tell if the red garment is a stole or jacket, but I think it is some kind 
of either quasi-historic, or exotic-ethnic piece--like Russian, maybe, or 
Turkish?  The gown, too, does not look like a real gown of the period, but we 
know that artists often took liberties with reality.  Claudia Kidwell has 
researched this topic, and Aileen Ribeiro discusses historic and exotic dress 
in "The Art of Dress."
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">This looks like 1790, at the latest, to me, unless it is a revival piece--that is, the artist painted it later, but in the earlier style.&nbsp; Hard to tell if the red garment is a stole or jacket, but I think it is some kind of either quasi-historic, or exotic-ethnic piece--like Russian, maybe, or Turkish?&nbsp; The gown, too, does not look like a real gown of the period, but we know that artists often took liberties with reality.&nbsp; Claudia Kidwell has researched this topic, and Aileen Ribeiro discusses historic and exotic dress in "The Art of Dress."<BR>
Ann Wass</FONT></HTML>

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Date: Sat, 18 Jan 2003 22:39:31 -0000
Status: RO

On 11 Jan 2003 at 14:32, lilinah@earthlink.net wrote:


> >http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=15723&item=2803287690
> 
> Yeah, and the heading is, and i quote, "18th Century Couture Gown". 
> Farther down they write, "THIS GOWN IS A 19th CENTURY INTERPRETATION 
> OF AN 18TH CENTURY GOWN".
> 
> Sheesh. It's a 20th c. interpretation of a 19th c. gown, not very 
> good 1870s. I forget which of the major US pattern companies it is, 
> Simplicity, i think...

BTW, when did back zippers come in? Probably earlier than I imagine 
they did, but C18?



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From: "Five Rivers" <info@5rivers.org>
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Subject: [h-cost] Workshops
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Date: Sat, 18 Jan 2003 18:35:20 -0500
Status: RO

    Thought I'd let people know about two workshops Five Rivers is running
in March.

    Saturday and Sunday March 1&2: A weekend workshop dedicated to
discovering the secrets of constructing Georgian stays, suitable for any
18th century historical interpretation. Students learn how to adjust a
pattern for a personal, custom fit, and period hand-sewing techniques, in an
intimate, hands-on environment. Pattern included. Materials list provided
prior to class to allow students time to assemble fabric, boning and notions
required for the weekend. Classes conducted 9:00 a.m. to noon, with a 1 ½
hour break for lunch, with the afternoon session running from 1:30 p.m. to
5:30 p.m. Accommodations (primitive, depending on first come, first bed
basis) and meals included.

    Saturday and Sunday March 15&16: A weekend workshop dedicated to
discovering the secrets of constructing a Regency corset, suitable for 1790
to 1825 historical interpretation. Students learn how to adjust a pattern
for a personal, custom fit, and period hand-sewing techniques, in an
intimate, hands-on environment. Pattern included. Materials list provided
prior to class to allow students time to assemble fabric, boning and notions
required for the weekend. Classes conducted 9:00 a.m. to noon, with a 1 ½
hour break for lunch, with the afternoon session running from 1:30 p.m. to
5:30 p.m. Accommodations (primitive depending on first booked first bed
basis) and meals included.

    Bookings can be made either through our website or by contacting me
directly.

Regards
Lorina Stephens

Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org


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I just picked up Rebeiro's "Art of Dress" and there is a similar jacket in 
Gerard and Fragonard's "The Reader," 1786.  Rebeiro says the jacket is from 
Dutch art of the mid-17th century.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I just picked up Rebeiro's "Art of Dress" and there is a similar jacket in Gerard and Fragonard's "The Reader," 1786.&nbsp; Rebeiro says the jacket is from Dutch art of the mid-17th century.<BR>
Ann Wass</FONT></HTML>

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Date: Sat, 18 Jan 2003 16:20:22 -0800
Status: RO


>In the past, no separate workmanship or documentation
>awards were given in the Historical masquerade - everything
>was lumped together.

You are actually incorrect on this point.  At all the three CostumeCons I 
judged historical at (the last was like 14 years ago), workmanship awards 
were given by that name, separate from the rest of the awards.  Granted, it 
was done by the same panel of judges who gave the rest of the awards, and 
at the same time as the rest of the pre-judging, but we considered it a 
separate possibility for award for each contestant.  And pre-judging was 
optional then, but highly recommended.

I remember a specific case of a workmanship award being given, where the 
contestant, at her first CostumeCon, thought she'd been given a dumb 
second-class award, and was very disappointed (her hotel-room-mate later 
told me).  It wasn't till the following day, as I was giving a 
judges-eye-view commentary of a rough-cut of the historical masquerade 
tape, and she, sitting behind me where I couldn't see her, heard me gushing 
over what she had got the award for, that she realized what her award was 
worth in a convention full of costumers.  So she went ahead with her plans 
to make costumes professionally, and is a working costume pro today.  (I've 
seen her recent work - I'd let her sew for me.)

>One set of judges a few years ago
>thought that wasn't right; if the Fantasy and Science
>Fiction masquerade had a separate workmanship award, then
>the Historical masq. should too;

So, things must have changed, and changed back again.

>plus, they felt
>documentation was not being given its due, and deserved an
>award as well.

That's good.


Kayta

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Subject: [h-cost] zippers
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Date: Sat, 18 Jan 2003 20:55:09 -0600
Status: RO



BTW, when did back zippers come in? Probably earlier than I imagine 
they did, but C18?


An early version of the zipper was invented in the 1890's, but it had
the unfortunate habit of popping open. The inventor's son-in-law later
spent a lot of time perfecting the design, and even more time trying to
convince people that zipping was a better idea than hooks and eyes.
I wasn't until the 1930's that zippers inclothes became common, although
they had been used in rubber boots and mail bags earlier.

Kim


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] zippers
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Date: Sat, 18 Jan 2003 19:29:34 -0800
Status: RO


>BTW, when did back zippers come in? Probably earlier than I imagine
>they did, but C18?
>
>
>An early version of the zipper was invented in the 1890's, but it had
>the unfortunate habit of popping open. The inventor's son-in-law later
>spent a lot of time perfecting the design, and even more time trying to
>convince people that zipping was a better idea than hooks and eyes.
>I wasn't until the 1930's that zippers in clothes became common, although
>they had been used in rubber boots and mail bags earlier.

My mother tells me that 'gap-osis' is the term for this particular zipper 
behavior, so I'm assuming it's a 1920s term.

Kayta

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From h-costume-admin@indra.com  Sat Jan 18 23:03:25 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Image from sotheby's auction
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Date: Sat, 18 Jan 2003 23:28:00 -0500
Status: RO

On Saturday 18 January 2003 03:32 pm, AnnBWass@aol.com wrote:
> This looks like 1790, at the latest, to me, unless it is a revival
> piece--that is, the artist painted it later, but in the earlier style. 
> Hard to tell if the red garment is a stole or jacket,

I think it's pretty clearly not a jacket--note that it is completely open and 
not fastened down the sides.

but I think it is
> some kind of either quasi-historic, or exotic-ethnic piece--like Russian,
> maybe, or Turkish?  The gown, too, does not look like a real gown of the
> period, but we know that artists often took liberties with reality. 

That's my impression--that's it's one of those paintings where the artist was 
attempting to evoke a feel different from the actual costume of the period.  
I think your 1790 date is probably correct.

Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From h-costume-admin@indra.com  Sat Jan 18 23:05:57 2003
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Date: Sat, 18 Jan 2003 23:31:14 -0500
Status: RO

On Saturday 18 January 2003 03:17 pm, Stevie Gamble wrote:
[text cut here]

> > Failing having actual fur, what do you think might work as an
> > approximation to achieve the same responses in a lining? e.g.
> > something heavy with quilting in patterns imitating pelt sizes/shapes to
>> encourage creases to fall in certain spots?
>
> I've been playing around trying to come up with something for you, but
> so far I've drawn a blank. Synthetic wadding is worse than useless,
> and the odd bits of faux fur that I dug out are almost as bad.
> Something like bump or domette might work but mine is in a carton at
> the most inaccessible spot in my storage cupboard, and that would take
> a couple of days to empty it all out. 

Bump?  Domette?  What are those? What are they made of?


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Sat, 18 Jan 2003 23:12:42 EST
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The zipper (that used to be a trade name, by the way; the generic name was 
"slide fastener") was first invented for boots, I guess as an alternative to 
doing up all the buttons on late 1800s shoes.  
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">The zipper (that used to be a trade name, by the way; the generic name was "slide fastener") was first invented for boots, I guess as an alternative to doing up all the buttons on late 1800s shoes.&nbsp; <BR>
Ann Wass</FONT></HTML>

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Still looks like a jacket to me, and, since the painting, "The Reader, in 
Ribeiro's book is by the same artist with Fragonard, it would not surprise me 
that it is the same garment.  In that painting, it is most definitely a 
jacket.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Still looks like a jacket to me, and, since the painting, "The Reader, in Ribeiro's book is by the same artist with Fragonard, it would not surprise me that it is the same garment.&nbsp; In that painting, it is most definitely a jacket.<BR>
Ann Wass</FONT></HTML>

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Date: Sat, 18 Jan 2003 22:21:22 -0600
Status: RO



My mother tells me that 'gap-osis' is the term for this particular
zipper 
behavior, so I'm assuming it's a 1920s term.


Actually, I think this gap problem occurred with the change to nylon
zippers in the 1960's. 

Kim

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Subject: Re: [h-cost] Image from sotheby's auction
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Date: Sun, 19 Jan 2003 22:40:39 +1300
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<<I just picked up Rebeiro's "Art of Dress" and there is a similar =
jacket in Gerard and Fragonard's "The Reader," 1786.  Rebeiro says the =
jacket is from Dutch art of the mid-17th century.>>

Aha! I thougt it looked 17thC... but I knew the painting couldn't be so =
didn't even think that it could have been the same type of garment:) My =
other guess would have been Turkish influence as I recall seeing many =
paintings of women in 'Turkish' dress of the late 18thC/early 19thC.

Glad to know my guesstimate wasn't far wrong:) (I said 1790 as the =
latest:) ) Anyone able to get hold of Max von Boehn's Die Mode? Or the =
English two volume Modes and Manners? Stuffed full of images from middle =
ages to 1914. I'd really recommend finding them in a library near you. =
The books are little but there are titles and artists and often locatons =
of paintings. Also some great refs to costs of fabrics (like enough silk =
to make a decent gown in 16thC germany cost the equivalent of a herd of =
cows;) Or close to;)

I mention this as I often got out the volume with regency period =
paitings and it overlapped with this era we are discussing.

michaela
http://recital.tripod.com

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<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF">&lt;&lt;I just picked up Rebeiro's "Art of Dress" =
and there=20
is a similar jacket in Gerard and Fragonard's "The Reader," 1786.&nbsp; =
Rebeiro=20
says the jacket is from Dutch art of the mid-17th=20
century.&gt;&gt;</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2=20
FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Aha! I thougt it looked 17thC... but I =
knew the=20
painting couldn't be so didn't even think that it could have been the =
same type=20
of garment:) My other guess would have been Turkish influence as I =
recall seeing=20
many paintings of women in 'Turkish' dress of the late 18thC/early=20
19thC.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Glad to know my guesstimate wasn't far =
wrong:) (I=20
said 1790 as the latest:) ) Anyone able to get hold of Max von Boehn's =
Die Mode?=20
Or the English two volume Modes and Manners? Stuffed full of images from =
middle=20
ages to 1914. I'd really recommend finding them in a library near you. =
The books=20
are little but there are titles and artists and often locatons of =
paintings.=20
Also some great refs to costs of fabrics (like enough silk to make a =
decent gown=20
in 16thC germany cost the equivalent of a herd of cows;) Or close=20
to;)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I mention this as I often got out the =
volume with=20
regency period paitings and it overlapped with this era we are=20
discussing.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>michaela</FONT></DIV>
<DIV><FONT face=3DArial=20
size=3D2>http://recital.tripod.com</FONT></DIV></BODY></HTML>

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] zippers
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Date: Sun, 19 Jan 2003 02:02:01 -0800
Status: RO


>My mother tells me that 'gap-osis' is the term for this particular
>zipper
>behavior, so I'm assuming it's a 1920s term.
>
>
>Actually, I think this gap problem occurred with the change to nylon
>zippers in the 1960's.

I heard it long before ordinary people could get Nylon zippers.


Kayta

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Subject: Re: [h-cost] Image from sotheby's auction
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Hi.
This is not a typpical 18th. century costume. It is a genre painting. =
The man (her husband) on the picture has a 17th century hairstyle. Yes =
the jacket is very similar to the fashionable jackets of the 1660ies and =
her dress is more like a late 18th century dress.
It was very fashionable to dress up in 17th century costume in the end =
of 18th century.
The swedish court wore dresses with cavalier sleaves and standing =
collars. It was a romantic wit. It was the king who designed the court =
dresses.
Max von Boehn=B4s modes and manners is very very lovely. But the print =
of the pictures is very old. It would be a lovely lovely treassure if =
they remade those books with new modern prints!!
 =20

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
  ----- Original Message -----=20
  From: michaela=20
  To: h-costume@indra.com=20
  Sent: Sunday, January 19, 2003 10:40 AM
  Subject: Re: [h-cost] Image from sotheby's auction


  <<I just picked up Rebeiro's "Art of Dress" and there is a similar =
jacket in Gerard and Fragonard's "The Reader," 1786.  Rebeiro says the =
jacket is from Dutch art of the mid-17th century.>>

  Aha! I thougt it looked 17thC... but I knew the painting couldn't be =
so didn't even think that it could have been the same type of garment:) =
My other guess would have been Turkish influence as I recall seeing many =
paintings of women in 'Turkish' dress of the late 18thC/early 19thC.

  Glad to know my guesstimate wasn't far wrong:) (I said 1790 as the =
latest:) ) Anyone able to get hold of Max von Boehn's Die Mode? Or the =
English two volume Modes and Manners? Stuffed full of images from middle =
ages to 1914. I'd really recommend finding them in a library near you. =
The books are little but there are titles and artists and often locatons =
of paintings. Also some great refs to costs of fabrics (like enough silk =
to make a decent gown in 16thC germany cost the equivalent of a herd of =
cows;) Or close to;)

  I mention this as I often got out the volume with regency period =
paitings and it overlapped with this era we are discussing.

  michaela
  http://recital.tripod.com

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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hi.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>This is not a typpical 18th. century =
costume. It is=20
a genre painting. The man (her husband) on the picture has a 17th =
century=20
hairstyle. Yes the jacket is very similar to the fashionable jackets of =
the=20
1660ies and her dress is more like a late 18th century =
dress.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>It was very fashionable to dress up in =
17th century=20
costume in the end of 18th century.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The swedish court&nbsp;wore dresses =
with cavalier=20
sleaves and standing collars. It was a romantic wit. It was the king who =

designed the court dresses.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Max von Boehn=B4s modes and manners is =
very very=20
lovely. But the print of the pictures is very old. It would be a lovely =
lovely=20
treassure if they remade those books with new modern =
prints!!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>Leif og Bjarne Drews<BR><A=20
href=3D"http://www.my-drewscostumes.dk">www.my-drewscostumes.dk</A></DIV>=

<DIV>&nbsp;</DIV>
<DIV><A=20
href=3D"http://home0.inet.tele.dk/drewscph/">http://home0.inet.tele.dk/dr=
ewscph/</A></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=3Dthebruce@ihug.co.nz =
href=3D"mailto:thebruce@ihug.co.nz">michaela</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> Sunday, January 19, 2003 =
10:40=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Image =
from=20
  sotheby's auction</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2 =

  FAMILY=3D"SANSSERIF">&lt;&lt;I just picked up Rebeiro's "Art of Dress" =
and there=20
  is a similar jacket in Gerard and Fragonard's "The Reader," =
1786.&nbsp;=20
  Rebeiro says the jacket is from Dutch art of the mid-17th=20
  century.&gt;&gt;</FONT></FONT></DIV>
  <DIV><FONT face=3Darial,helvetica><FONT lang=3D0 face=3DArial size=3D2 =

  FAMILY=3D"SANSSERIF"></FONT></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Aha! I thougt it looked 17thC... but =
I knew the=20
  painting couldn't be so didn't even think that it could have been the =
same=20
  type of garment:) My other guess would have been Turkish influence as =
I recall=20
  seeing many paintings of women in 'Turkish' dress of the late =
18thC/early=20
  19thC.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Glad to know my guesstimate wasn't =
far wrong:) (I=20
  said 1790 as the latest:) ) Anyone able to get hold of Max von Boehn's =
Die=20
  Mode? Or the English two volume Modes and Manners? Stuffed full of =
images from=20
  middle ages to 1914. I'd really recommend finding them in a library =
near you.=20
  The books are little but there are titles and artists and often =
locatons of=20
  paintings. Also some great refs to costs of fabrics (like enough silk =
to make=20
  a decent gown in 16thC germany cost the equivalent of a herd of cows;) =
Or=20
  close to;)</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>I mention this as I often got out the =
volume with=20
  regency period paitings and it overlapped with this era we are=20
  discussing.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>michaela</FONT></DIV>
  <DIV><FONT face=3DArial=20
size=3D2>http://recital.tripod.com</FONT></DIV></BLOCKQUOTE></BODY></HTML=
>

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Subject: [h-cost] Cool Celtic print fabrics
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Date: Sun, 19 Jan 2003 06:49:56 -0700
Status: RO

http://equilter.com/cgi-bin/webc.cgi/home.html

I was browsing this site again and put in Celtic in the search engine.
It comes up with lots of cool fabrics and products.  (I am thinking
about ordering the Celtic appliqué book).  BTY, they also have the
dragon and knight fabric everyone is talking about.

Not sure how one would incorporate either the former or the latter in
historic reproductions, but they might be a way to introduce a little
'history' into our mundane clothes!! 

I still can't stop raving about the palate thingy!!  What a way to
mollify a urge from your fabric addiction!

Sg




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Date: Sun, 19 Jan 2003 14:17:06 -0000
Status: RO

Cathy wrote

> > Something like bump or domette might work but mine is in a carton
at
> > the most inaccessible spot in my storage cupboard, and that would
take
> > a couple of days to empty it all out.
>
> Bump?  Domette?  What are those? What are they made of?

These are natural fibres used as interlinings for expensive curtains;
domette is also used as interlinings for clothes. A quick Google will
pull up suppliers; they are essential to drapes, swags, etc. etc. The
best how to books, in my view, are by Lady Caroline Wrey; they give
all sorts of techniques which can also be used for garments.

best wishes
Stevie

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In a message dated 1/19/2003 4:44:09 AM Eastern Standard Time, 
thebruce@ihug.co.nz writes:


> Max von Boehn's Die Mode? Or the English two volume Modes and Manners? 

They also have repros of fashion plates in color--many of which I haven't 
been able to find anywhere else.  Fortunately, the University of Maryland 
Libraries have the set.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/19/2003 4:44:09 AM Eastern Standard Time, thebruce@ihug.co.nz writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Max von Boehn's Die Mode? Or the English two volume Modes and Manners? </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>
They also have repros of fashion plates in color--many of which I haven't been able to find anywhere else.&nbsp; Fortunately, the University of Maryland Libraries have the set.<BR>
Ann Wass</FONT></HTML>

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Date: Sun, 19 Jan 2003 09:12:23 -0500
Status: RO

I received my fabric in two days from www.ladybuttonfabric.com .  I am very
impressed with the speedy service.  I was so happy that a little extra
yardage was included and that the fabric was cut straight!!!  My local
fabric stores don't seem to know how to cut straight.

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


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In a message dated 1/19/2003 9:35:46 AM Eastern Standard Time, 
penny@costumegallery.com writes:


> www.ladybuttonfabric.com 

Whoops!  For those trying to find the site, like I was, it is 
www.ladybuttonfabrics.com
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/19/2003 9:35:46 AM Eastern Standard Time, penny@costumegallery.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">www.ladybuttonfabric.com </BLOCKQUOTE><BR>
<BR>
Whoops!&nbsp; For those trying to find the site, like I was, it is www.ladybuttonfabrics.com<BR>
Ann Wass</FONT></HTML>

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Thanks Ann!!!!!  I am still adjusting to be up during the day instead of
night.

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


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<DIV>Thanks Ann!!!!!&nbsp; I am still adjusting to be up during the day =
instead=20
of night.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Fur linings
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Date: Sun, 19 Jan 2003 12:09:24 -0500
Status: RO

On Sunday 19 January 2003 09:17 am, Stevie Gamble wrote:
> Cathy wrote
>
> > > Something like bump or domette might work but mine is in a carton
>
> at
>
> > > the most inaccessible spot in my storage cupboard, and that would
>
> take
>
> > > a couple of days to empty it all out.
> >
> > Bump?  Domette?  What are those? What are they made of?
>
> These are natural fibres used as interlinings for expensive curtains;
> domette is also used as interlinings for clothes. A quick Google will
> pull up suppliers; they are essential to drapes, swags, etc. etc. The
> best how to books, in my view, are by Lady Caroline Wrey; they give
> all sorts of techniques which can also be used for garments.

Thanks.  I'd never heard of them before (I wonder if they go by different 
names in the U.S.)....
-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] New book
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Date: Sun, 19 Jan 2003 18:37:55 +0000 (GMT)
Status: RO

 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 
> My textile-interested librarian friend passed me this cite. This is all I
> know, and I can't translate it either, but it's apparently something about
> medieval textiles.
> 
> Susan Moller-Wiering, Segeltuch und Emballage:  Textilien im
> mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:  Vlg. Marie
> Leidorf, 2002.  Euros 66.50/$67.00 

"Canvas and Emballage (whatever that is): textiles in the medieval transport of
wares on Northsea and Ostsee (not a clue what the Ostsee is in English,
Eastsea?)."

N.

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Fur linings
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Date: Sun, 19 Jan 2003 19:16:42 -0000
Status: RO

>Indeed; I gave these references a little while ago in the discussion
on Robin's tippets:

Sorry must have missed it, but maybe not as I have Fur in dress now &
ordered it recently

>Elspeth Veale's The English Fur Trade in the Later
Middle Ages.' Oxford University Press, Oxford, 1966

Can you tell me what period this discusses as it looked a bit late for me

Thanks

Mel


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Date: Mon, 20 Jan 2003 06:55:58 -0800
Status: RO



h-costume-request@indra.com wrote:

>
>
> Message: 6
> Date: Sun, 19 Jan 2003 18:37:55 +0000 (GMT)
> From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
> Subject: Re: [h-cost] New book
> To: h-costume@indra.com
> Reply-To: h-costume@mail.indra.com
>
>  --- Robin Netherton <robin@shell.nightowl.net> wrote: >
> > My textile-interested librarian friend passed me this cite. This is all I
> > know, and I can't translate it either, but it's apparently something about
> > medieval textiles.
> >
> > Susan Moller-Wiering, Segeltuch und Emballage:  Textilien im
> > mittelalterlichen Warentransport auf Nord- und Ostsee (Rahden:  Vlg. Marie
> > Leidorf, 2002.  Euros 66.50/$67.00
>
> "Canvas and Emballage (whatever that is): textiles in the medieval transport of
> wares on Northsea and Ostsee (not a clue what the Ostsee is in English,
> Eastsea?)."
>

If it is the sea to the north and east of Germany (and I vaguely recall it being
that in a map in 4th form German) then it is part or all of the Baltic Sea.
Claire

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Date: Mon, 20 Jan 2003 07:01:35 -0800
Status: RO

Hi all,
 I wonder if anyone remembers just before Christmas when we were
discussing
1540's dresses someone posted the URL for a pic of a dress that was
supposed to
be an example of one of the features we were talking about. Anyway, the
main
thing I remember about it was the decoration on the bodice which
consisted of
ribbon sewn in a double line square. I think the dress was green and the
ribbon
yellow. Anyway, I was wondering if anyone still has the link because I
rather
carelessly deleted it.
Claire

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Subject: [h-cost] Re: 1540's Italian Dress
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Date: Sun, 19 Jan 2003 19:06:57 -0500
Status: RO

http://www.geocities.com/ailithmac/Green1.jpg

It's attributed to da Carpi, circa 1530. There's a b&w of it in 20,000 Years
of Fashion.

kate

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Subject: Re: [h-cost] zippers
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Date: Sun, 19 Jan 2003 21:18:13 -0500
Status: RO

Hi, All. I just saw a "history of the zipper" book for sale at Daedalus
Books in Columbia Md. Don't remember the name of the book or the author,
but you could check with the company (Daedalus, that is) to find it if
you are interested. They also have a wad of small couture books on
modern designers (Ferragamo, etc.). I don't know their URL off the top
of my head, but you could probably search it out easily enough, or if
you live nearby, you could stop by. I also picked up a few books. Two
are rather nice, and have a number of good clothing illos that I hadn't
seen before. One is "Netherlandish Art in the Rijksmuseum 1400-1600",
and the other is "The Medieval Art of Love" by Michael Camille. Both
books were really reasonably priced. I recommend Daedalus highly. Mike
T.



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From h-costume-admin@indra.com  Sun Jan 19 21:46:47 2003
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Subject: [h-cost] 18c hair styles
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Date: Sun, 19 Jan 2003 20:46:12 -0600
Status: RO

Over a year ago, well ok, 2 years ago, I told you all that I had a modern
day doll pattern of 18c dolls, dresses, and hair styles. I found all but the
first page of this pattern and have put up the instructions of how to put
the hair up. From these instructions you can extrapolate how to do your own
hair.

Once I find the first page I will add it to the site but for now, here it
is. :)

http://www.glove.org/costume/hair/index.htm

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

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Date: Sun, 19 Jan 2003 22:12:49 -0500
Status: RO

Hi. In Gerry and John's book "The Medieval Soldier", there are some illos
of some upper class folks wearing fur (pgs 20 and 22). I would like,
however, to respectfully disagree with the assertion that everyone in
these companies would have worn fur in one size, shape or form (unless
wool is considered). There are literally thousands of representations of
common folk, or even lesser nobility, from these periods that are shown
with no evidence of them wearing fur either at all times, or in fact in
any, regardless of the season. Certainly the wealthiest had access to the
minivers and vair, etc., but I am certainly not familiar with such a
widespread universal usage of fur at this period. If there is ample
documentary evidence to support such a broad theory, I would be glad to
see it presented, as this is certainly the best forum for such a
discussion. Please do not take offence, and since I am a dilletante in
this field, I may not be up to speed on the current archaeological and
socialogical evidence, but I am hesitant to accept such a broad statement
without further knowledge. This said, I will await further commentary on
this highly interesting subject. Mike T.


>  Every person in these companies would have worn fur
> in some size, shape or form, and yet the only reference in the Saint
> George site plates is to an armed messenger wearing a furlined gown.
> There is no reference to fur in clothing at all that I can find in the
> site for La Belle Compaigne.

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Image from sotheby's auction
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Date: Mon, 20 Jan 2003 14:13:15 +1100 (EST)
Status: RO

Thank you all who helped me with my query regarding
that red jacket-like garment. :)

I've found the one thing I'd get if I had the cash -
and it's not a painting, despite there being quite a
few paintings by Venetian artists available. It's a
Venetian casket..."elaborately painted and panelled,
the raised central section of lid with slide
compartment, the lid opening to reveal a glass
(replaced), the interior with later velvet covering,
two secret drawers on the underside, with key..." The
"casket is a rare and extravagant example of the
Islamic inspired lacquer-work produced in Venice
during the second half of the 16th century."

This sounds like it could have been used as a jewel
casket - I especially like the hidden drawers. :)

<http://search.sothebys.com/jsps/live/lot/LotDetail.jsp?lot_id=3XXK2>



Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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From: Katy Bishop <vintage@shore.net>
To: historic costume <h-costume@indra.com>
Subject: Re: [h-cost] zippers
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Date: Sun, 19 Jan 2003 23:17:35 -0500 (EST)
Status: RO


On Sun, 19 Jan 2003, leigh tartaglio wrote:

>Hi, All. I just saw a "history of the zipper" book for sale at Daedalus
>Books in Columbia Md. Don't remember the name of the book or the author,
>but you could check with the company (Daedalus, that is)

Might it have been:

"Zipper: an Exploration in Novelty" by Robert Friedel

I have it here in front of me. 1994 ISBN 0-393-31365-4
W. W. Norton & Company NY, London

Looks like on a quick scan of the book, early 1890's an inventor from
Chicago, working on a sliding shoe fastener, trying to get a patent. ca.
1891, 1893

"C- Curity Fastener" 1902 looks rather like a zipper, hooks opposite
eyes, with a slider, on a cloth tape like we'd expect (earlier models
just metal to be attached to cloth).  Advertised for skirt placket
closures.  Anyone seen one of these in an early piece of clothing?  I
haven't, but would love to.  The earliest zipepr I've seen is 1930's.

1917 the modern looking zipper patented.

Don't have time to read the book, much too tired after spending the
weekend at Arisia, but I've been able to glean a bit of history from the
illustrations.

hope this helps.

Katy


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: Sun, 19 Jan 2003 23:18:17 -0500
Status: RO

Did anyone see the new commercial during the Golden Globes tonight called
"Medeval Kenieval (sp)?  I thought I was going to laugh myself silly.  It is
a diet Dr. Pepper commercial.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
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Date: Sun, 19 Jan 2003 21:53:18 -0700
Status: RO

Yes! I just saw it the other night--it's hysterical.  I actually laughed
so hard, I scared the Resident Felines. <g> I'm not much on advertising,
in general, but oh...the good ones are priceless!
I think it'd be spelled "Medieval Knieval."  Maybe. *laughs* I've been
running on one (mental) cylinder all weekend....
--sue, who actually lives only a couple of hours from Evil Kneival's
home town

Penny Ladnier wrote:
> 
> Did anyone see the new commercial during the Golden Globes tonight called
> "Medeval Kenieval (sp)?  I thought I was going to laugh myself silly.  It is
> a diet Dr. Pepper commercial.
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Date: Sun, 19 Jan 2003 21:01:14 -0800
Status: RO

  _Zipper_ is an excellent popular history, well researched and 
entertainingly written.  I still remember the story about the 
traveling salesman for an early model, which didn't work very well, 
being threatened with a lethal weapon the next time he visited that 
store.

Fran

> Might it have been:
> 
> "Zipper: an Exploration in Novelty" by Robert Friedel
> 
> I have it here in front of me. 1994 ISBN 0-393-31365-4
> W. W. Norton & Company NY, London
> 
-- 
---------------------------------------------
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Mon, 20 Jan 2003 08:03:42 +0000 (GMT)
Status: RO

 --- leigh tartaglio <mikes@dandy.net> wrote: > 
> discussion. Please do not take offence, and since I am a dilletante in
> this field, I may not be up to speed on the current archaeological and
> socialogical evidence, but I am hesitant to accept such a broad statement
> without further knowledge. This said, I will await further commentary on
> this highly interesting subject. Mike T.

I just got back last night from germany (again) and am working through the
mails, particularly the fur ones. Thus I'd like to support/agree with Mike and
plead as well, when making such a broad statement, please give us evidence to
support it because I am very curious, not knowing jack diddley about the
period, and I am always loathe to just accept something someone says (whoever,
I make no distinction between 'well known' scholars and members of this list)
as the 'truth' in a given period/subject I am not able to verify the statement
myself, so I, too, am waiting eagerly for loads of evidence.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 20 Jan 2003 09:35:33 +0000
Status: RO

I agree with Bjarne. I think it's an 18th century take on 17th century costume. The title of the painting is "Deserved regrets", so she is obviously meant to be emotionally involved with the man in the portrait. The plain satin is a typical mid-17th century look, though of course the cut of the bodice and "natural" bustline are wrong. It's like those  portraits of men in so-called "Vandyke" costume, but with the 18th century long waist.


>>> drewscph@post12.tele.dk 01/19/03 12:43pm >>>
Hi.
This is not a typpical 18th. century costume. It is a genre painting. The man (her husband) on the picture has a 17th century hairstyle. Yes the jacket is very similar to the fashionable jackets of the 1660ies and her dress is more like a late 18th century dress.
It was very fashionable to dress up in 17th century costume in the end of 18th century.
The swedish court wore dresses with cavalier sleaves and standing collars. It was a romantic wit. It was the king who designed the court dresses.
Max von Boehn s modes and manners is very very lovely. But the print of the pictures is very old. It would be a lovely lovely treassure if they remade those books with new modern prints!!
  

Leif og Bjarne Drews
www.my-drewscostumes.dk 

http://home0.inet.tele.dk/drewscph/ 
  ----- Original Message ----- 
  From: michaela 
  To: h-costume@indra.com 
  Sent: Sunday, January 19, 2003 10:40 AM
  Subject: Re: [h-cost] Image from sotheby's auction


  <<I just picked up Rebeiro's "Art of Dress" and there is a similar jacket in Gerard and Fragonard's "The Reader," 1786.  Rebeiro says the jacket is from Dutch art of the mid-17th century.>>

  Aha! I thougt it looked 17thC... but I knew the painting couldn't be so didn't even think that it could have been the same type of garment:) My other guess would have been Turkish influence as I recall seeing many paintings of women in 'Turkish' dress of the late 18thC/early 19thC.

  Glad to know my guesstimate wasn't far wrong:) (I said 1790 as the latest:) ) Anyone able to get hold of Max von Boehn's Die Mode? Or the English two volume Modes and Manners? Stuffed full of images from middle ages to 1914. I'd really recommend finding them in a library near you. The books are little but there are titles and artists and often locatons of paintings. Also some great refs to costs of fabrics (like enough silk to make a decent gown in 16thC germany cost the equivalent of a herd of cows;) Or close to;)

  I mention this as I often got out the volume with regency period paitings and it overlapped with this era we are discussing.

  michaela
  http://recital.tripod.com 


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Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Mon, 20 Jan 2003 11:50:39 -0000
Status: RO

Hi,
Mike T, Nicole ,
Well, unsurprisingly enough, my observations are based on the same
references I quoted in  my lengthy posts on the use of fur in the
Middle Ages re Robin's tippets, back in November, and subsequently on
the question of  fur  linings, edgings etc. Obviously you missed all
those posts; perhaps you'd like to dig them out and at least read the
content.
And after that you might like to actually read the books, so once
more, with feeling:

Elspeth Veale's The English Fur Trade in the Later
Middle Ages.' Oxford University Press, Oxford, 1966

'Fur in dress', by Elizabeth Ewing,
Batsford, London, 1981.

Incidently, Gerry and John's book is apparently out of print, so I
cannot check the references you quote. However, I would have expected
them, if they really had done their research in any detail, to have
read both Veale and Ewing. In which case they would have known better.

best wishes
Stevie

----- Original Message -----
From: "leigh tartaglio" <mikes@dandy.net>
To: <h-costume@indra.com>
Sent: Monday, January 20, 2003 3:12 AM
Subject: Re: [h-cost] Late Middle Ages 'companies'


> Hi. In Gerry and John's book "The Medieval Soldier", there are some
illos
> of some upper class folks wearing fur (pgs 20 and 22). I would like,
> however, to respectfully disagree with the assertion that everyone
in
> these companies would have worn fur in one size, shape or form
(unless
> wool is considered). There are literally thousands of
representations of
> common folk, or even lesser nobility, from these periods that are
shown
> with no evidence of them wearing fur either at all times, or in fact
in
> any, regardless of the season. Certainly the wealthiest had access
to the
> minivers and vair, etc., but I am certainly not familiar with such a
> widespread universal usage of fur at this period. If there is ample
> documentary evidence to support such a broad theory, I would be glad
to
> see it presented, as this is certainly the best forum for such a
> discussion. Please do not take offence, and since I am a dilletante
in
> this field, I may not be up to speed on the current archaeological
and
> socialogical evidence, but I am hesitant to accept such a broad
statement
> without further knowledge. This said, I will await further
commentary on
> this highly interesting subject. Mike T.
>
>
> >  Every person in these companies would have worn fur
> > in some size, shape or form, and yet the only reference in the
Saint
> > George site plates is to an armed messenger wearing a furlined
gown.
> > There is no reference to fur in clothing at all that I can find in
the
> > site for La Belle Compaigne.
>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Late Middle Ages  'companies'
To: h-costume@indra.com
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Date: Mon, 20 Jan 2003 12:14:38 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Hi,
> Mike T, Nicole ,
> Well, unsurprisingly enough, my observations are based on the same
> references I quoted in  my lengthy posts on the use of fur in the
> Middle Ages re Robin's tippets, back in November, and subsequently on
> the question of  fur  linings, edgings etc. Obviously you missed all
> those posts; perhaps you'd like to dig them out and at least read the
> content.

Well that isn't possible, I have yet to find a way of finding an archive that
is recent, maybe there is one? If there is I'd be very happy to know. Anyway, I
remember which batch of emails you mean now.

> And after that you might like to actually read the books, so once
> more, with feeling:
> 
> Elspeth Veale's The English Fur Trade in the Later
> Middle Ages.' Oxford University Press, Oxford, 1966
> 
> 'Fur in dress', by Elizabeth Ewing,
> Batsford, London, 1981.

Thank you, but that was not what I was looking for re evidence. I had hoped you
could have pointed us to 'period places', like it is often done, but doesn't
matter, I just take the statement with a box of salt and don't worry about it
till perhaps one day I do actually get the time to dig out the evidence myself
i.e. read the books.

Thanks anyway, and it just doesn't matter so much to me, so no worries.

Nicole

=====
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Email: nicole@kipar.org

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Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Mon, 20 Jan 2003 12:20:51 -0000
Status: RO

>Thank you, but that was not what I was looking for re evidence. I had hoped
you
could have pointed us to 'period place

I was wondering about primary evidence too.

The Fur one by Ewing is very sparse on the medieval period, dealing far more
I think with later info.

I felt you gleaned far more from it than I did, or maybe more came from the
other book ?

Mel
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Date: Mon, 20 Jan 2003 12:28:54 -0000
Status: RO

Nicole wrote:

>I had hoped you
> could have pointed us to 'period places', 

Nicole, I'm absolutely baffled; what do you mean?

bemused best wishes
Stevie

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Date: Mon, 20 Jan 2003 12:43:49 -0000
Status: RO

Mel wrote, re:

> >Elspeth Veale's The English Fur Trade in the Later
> Middle Ages.' Oxford University Press, Oxford, 1966
>
> Can you tell me what period this discusses as it looked a bit late
for me

I don't know what your period is, so I can't be sure:-)  but the
earliest brief references in the book are to Charlemagne, and it
wanders from time to time into the 16th century. It's not exclusively
English, unsurprisingly; the fur trade was European wide, and supplies
came not only from the extreme north, but also from the south eg
bougie or budge from north africa. The book was greatly  expanded from
a Phd thesis, and is rather more wideranging than the title suggests.
The constraints on early periods are, of course, the lack of much
archival evidence from those periods.
I think it's essential reading, but you may differ.

best wishes
Stevie

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Date: Mon, 20 Jan 2003 12:48:48 -0000
Status: RO

Mel wrote:

> I was wondering about primary evidence too.
>
> The Fur one by Ewing is very sparse on the medieval period, dealing
far more
> I think with later info.
>
> I felt you gleaned far more from it than I did, or maybe more came
from the
> other book ?

Yes; unsurprisingly, there is a great deal more information on the fur
trade in the later Middle Ages in the book called  'The English Fur
Trade in the Later
Middle Ages.'

best wishes
Stevie


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Date: Mon, 20 Jan 2003 12:45:21 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com> wrote: > Nicole wrote:
> 
> >I had hoped you
> > could have pointed us to 'period places', 
> 
> Nicole, I'm absolutely baffled; what do you mean?

Oh, sorry, sometimes I don't know how to express things. I meant when ppl post
period images or texts to support a statement, but I suppose this topic is too
wide ranging to do that. 
As I said, nevermind when it comes to me, it doesn't matter that much, I have
the book titles saved, so that's okay.

Nicole

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Email: nicole@kipar.org

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Fur linings
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Date: Mon, 20 Jan 2003 13:13:02 -0000
Status: RO

My periods are 5th C (which isn't relative) and 13th C which is the one I'm
most interested in finding info for.

I'm lothed to keepo buying books which only give me a sentance or so of
information on my interest.

>Yes; unsurprisingly, there is a great deal more information on the fur
trade in the later Middle Ages in the book called  'The English Fur
Trade in the Later
Middle Ages.'

Unfortunaly 'late Middle Ages' is a phrase somewhate open to debate or
interpretation. Venturing as you suggest it does into the 16th is not within
the normally accepted Middle Ages in my experiance. And from what you say it
also wanders into what I would define as the early middle ages too.

Added to that the difference in definitions since this was written nearly 40
years ago and any clarification is greatly appriciated !

Mel
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Re: fur in dress; was: companies and fur linings
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Date: Mon, 20 Jan 2003 05:31:43 -0800 (PST)
Status: RO

Mike wrote:
> If
> there is ample
> documentary evidence to support such a broad theory,
> I would be glad to
> see it presented, as this is certainly the best
> forum for such a
> discussion. 

Thanks to Stevie's book suggestions the last time the
list discussed fur use in the High Middle Ages, I've
gleaned much from the first chapter of Elspeth Veale's
_The English Fur Trade in the Late Middle Ages_. Since
she heavily relies on wardrobe accounts and other
primary sources, I trust her summary. This first
chapter, entitled 'Costly Thy Habit. . .' goes into
some detail about the trends in say, the late 14th
century toward the broad and voracious use of fur in
clothing from royalty down to commoners. Here's a
quote: "Of the twenty gowns owned by Edward III's
mother, listed with her other possessions after her
death in 1358, sixteen were furred. Henry V left
twenty-six gowns, all except six of which were furred,
as were seven of his nine hats." (Veale p. 6) We can
safely conclude from this little tidbit that no, not
EVERY gown was furred, but that at the highest levels
of social class, _most_ were. There's a lot more
supporting evidence (drawn from primary sources) in
this chapter supporting the idea that almost every
level of society wore fur of some sort, from cat (beg
pardon of the cat-lovers!) to sumptuous miniver and
ermine. There's also evidence that summer gowns were
more routinely lined in silk, but that even then, fur
was used too. Livery of wealthy households was also
often furred, thanks to the heads of those households
feeling compelled to outdo the Joneses next door. 

So, perhaps the answer to whether or not 'all' members
of a company would wear fur is "It would be an
accurate portrayal to have an all-furred company, but
conversely it is not _inaccurate_ to have only some
members of the company wearing fur." Perhaps the least
likely would be a company consisting of relatively
well-off folks not sporting one jot of fur. A case can
be made for the height of summer, but even that is a
crap shoot.

-Tasha

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: Re: [h-cost] Re: fur in dress; was: companies and fur linings
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Date: Mon, 20 Jan 2003 14:35:33 -0000
Status: RO

Tasha wrote:

> So, perhaps the answer to whether or not 'all' members
> of a company would wear fur is "
>It would be an
> accurate portrayal to have an all-furred company, but
> conversely it is not _inaccurate_ to have only some
> members of the company wearing fur."

Actually, what I said was

"Every person in these companies would have worn fur
in some size, shape or form"

At the top end the great lords, for example the opponent of Edward II,
Thomas Earl of Lancaster,  provided furs as part of the liveries. His
retinue extended to  5-600 men wearing his colours of argent and azure
, and most of those men appear to have worn furs. Few attained the
heights of the Sun in Splendour himself, whose very horses had ermine
skins on their trappings. (pages 7 and 8).
At the bottom end (see Chapters II and III) the rag tag and bobtail of
home skinned pelts, Chaucer's pilches, and second/third/fourth etc
hand linings, cuffs, collars whatever. It is always useful to remind
oneself that fur was not a luxury; types of fur were luxuries. Furs
were worn indoors as well as out, there was no central heating, and a
man sleeping in the rough on campaign needed to keep warm; if he
didn't his fighting ability was greatly impaired. Fur, like wool,
keeps you warm, and soldiers knew that keeping warm might make the
difference between life and death. That isn't a luxury...

>Perhaps the least
> likely would be a company consisting of relatively
> well-off folks not sporting one jot of fur. A case can
> be made for the height of summer, but even that is a
> crap shoot.

Yes, I'd regard that as so unlikely as to be impossible; the wearing
of fur was prescriptive, as well as necessary, hence the charming tale
of Bishop Wulfstan and the absence of the Cat of God.

I'm glad you are finding Elspeth Veale's book  useful; even if you
have no taste for the minutiae of the trading activities, Chapter VII,
Fashions in Fur, which looks at the transitions in luxury furs through
the 15th and 16th centuries, is well worth a look.

best wishes
Stevie

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Subject: Re: [h-cost] Fur linings
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Date: Mon, 20 Jan 2003 14:39:18 -0000
Status: RO

Mel wrote:


> My periods are 5th C (which isn't relative) and 13th C which is the
one I'm
> most interested in finding info for.
>
> I'm lothed to keepo buying books which only give me a sentance or so
of
> information on my interest.

I appreciate that, and you may have difficulties in buying the Veale
book anyway. But you don't need to; that is what libraries are for.

 > >Yes; unsurprisingly, there is a great deal more information on the
fur
> trade in the later Middle Ages in the book called  'The English Fur
> Trade in the Later
> Middle Ages.'
>
> Unfortunaly 'late Middle Ages' is a phrase somewhate open to debate
or
> interpretation. Venturing as you suggest it does into the 16th is
not within
> the normally accepted Middle Ages in my experiance. And from what
you say it
> also wanders into what I would define as the early middle ages too.

Indeed so, as I pointed out to you. That is why I asked you to specify
what you want to know about.

> Added to that the difference in definitions since this was written
nearly 40
> years ago and any clarification is greatly appriciated !

Well, there's certainly quite a bit about the 13th century in Elspeth
Veale's book, but I think you are going to have to read it for
yourself. It is footnoted to within an inch of its life, as works of
scholarship are (or at least, should be).  You have still not told me
precisely what it is about the 13th century you are interested in, and
you must appreciate that, in any case, a work of scholarship is not
going to provide neat little soundbites. It is fascinating, but you
may differ on this...

best wishes
Stevie





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Date: Mon, 20 Jan 2003 07:01:42 -0800 (PST)
Status: RO

> I'm glad you are finding Elspeth Veale's book 
> useful; even if you
> have no taste for the minutiae of the trading
> activities, Chapter VII,
> Fashions in Fur, which looks at the transitions in
> luxury furs through
> the 15th and 16th centuries, is well worth a look.
> 
> best wishes
> Stevie

Oh, but I _do_ have a taste for such miutiae, and just
as soon as I can, I'm getting right to it! :^)

To answer other queries about whether or not the books
discussed here are useful for more than 'a sentence'
of useful information: they're useful! Many, many,
many sentences-worth of information! 

They're both excellent in their own ways. _Fur in
Dress_, which relies more heavily on secondary sources
than the Veale book (for instance, it references the
Veale book) gives a not-shabby overview of fur in
fashion, beginning with pre-history and moving forward
through the periods we've been discussing. The first
three or four chapters, IIR, provide lots of useful
information. The Veale book, as Stevie has pointed out
rather well, is amazing and chock full of scholarly
evidence. She directly quotes or summarizes evidence
from numerous period texts, beginning with 13th
century accounts and moving foward through the 14th
and 15th century primary sources. You'll find out
about the Hanseatic League, the Skinners, and the
age-old desire to look dashing. 

Honestly, these are excellent references, with the
Veale book ranking higher than the Fur in Dress book
for scholarship. They're not boring reads, either...

-Tasha
PS -- I get this list in digest form, so please pardon
if I weigh in late on a topic and someone else has
already stated what I'm saying. It's the only way I
can manage the volume here.

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Re: fur in dress; was: companies and fur linings
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Date: Mon, 20 Jan 2003 15:11:57 +0000 (GMT)
Status: RO

 --- Tasha McGann <demontsegur@yahoo.com> wrote: > 

*snippage* 

Thanks ever so much Tasha, that was exactly the sort of 'period piece' I was
looking and hoping for, that was very useful. I just cannot go and read a book
everytime, nor do I expect somebody who has a quick 17th c. question to go read
a specialist book or thesis. That's why I like this list so much! I save all
the important emails with info in, if I can possible find teh time to read
throughly through each (which isn't always the case though).

> as were seven of his nine hats." (Veale p. 6) We can
> safely conclude from this little tidbit that no, not
> EVERY gown was furred, but that at the highest levels
> of social class, _most_ were. There's a lot more
> supporting evidence (drawn from primary sources) in
> this chapter supporting the idea that almost every
> level of society wore fur of some sort, from cat (beg
> pardon of the cat-lovers!) to sumptuous miniver and
> ermine. 

That makes a lot of sense, I am always a little suspicious when I hear _every_
or _all_ or _none_ or _never_ but I think we just had a thread about that
recently.
 *hides her kittie from cat-fur-lovers*

> So, perhaps the answer to whether or not 'all' members
> of a company would wear fur is "It would be an
> accurate portrayal to have an all-furred company, but
> conversely it is not _inaccurate_ to have only some
> members of the company wearing fur." Perhaps the least
> likely would be a company consisting of relatively
> well-off folks not sporting one jot of fur. A case can
> be made for the height of summer, but even that is a
> crap shoot.

Yep, I get the point, and I think that this is indeed then what is missing in
English re-enactment groups.

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Mon, 20 Jan 2003 08:24:31 -0700
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I was wondering for those of you who had made and worn gowns where the
cut of the gown is such that the shoulder piece is very small, almost
non existent, or truly cut such that the sleeve is off the shoulder.  
 
Does the gown stay up because of the way the bodice is fit? Do the
sleeves stay in place, or do they fall down a lot?  
 
Does it drive you crazy?
 
The referenced Italian is one that would seem prone to this problem.   
 
http://www.geocities.com/ailithmac/Green1.jpg
 
An "English' example 
 
http://www.geocities.com/athens/forum/9194/maryqos5.jpg
 
And of course 
 
http://www.abcgallery.com/H/holbein/holbein3.html
 
 
I have tended to make and recommend this type of arrangement for folks
like me who are moving around a lot.
 
http://www.volny.cz/dodovaseq/renesance/rs46.jpg
 
 
Oh and while poking around for examples, I came across this portrait
which I had never seen before.
 
http://www.volny.cz/dodovaseq/renesance/rs33.jpg
 
 
Sg
 

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<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>I
was wondering for those of you who had made and worn gowns where the cut =
of the
gown is such that the shoulder piece is very small, almost non existent, =
or truly
cut such that the sleeve is off the shoulder.<span
style=3D'mso-spacerun:yes'>&nbsp; </span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Does
the gown stay up because of the way the bodice is fit? Do the sleeves =
stay in
place, or do they fall down a lot?<span =
style=3D'mso-spacerun:yes'>&nbsp; </span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Does
it drive you crazy?<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>The
referenced Italian is one that would seem prone to this problem.<span
style=3D'mso-spacerun:yes'>&nbsp; </span><span
style=3D'mso-spacerun:yes'>&nbsp;</span><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.geocities.com/ailithmac/Green1.jpg">http://www.geociti=
es.com/ailithmac/Green1.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>An
&#8220;English&#8217; example <o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.geocities.com/athens/forum/9194/maryqos5.jpg">http://w=
ww.geocities.com/athens/forum/9194/maryqos5.jpg</a><o:p></o:p></span></fo=
nt></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>And
of course <o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.abcgallery.com/H/holbein/holbein3.html">http://www.abc=
gallery.com/H/holbein/holbein3.html</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>I
have tended to make and recommend this type of arrangement for folks =
like me
who are moving around a lot.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.volny.cz/dodovaseq/renesance/rs46.jpg">http://www.voln=
y.cz/dodovaseq/renesance/rs46.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'>Oh
and while poking around for examples, I came across this portrait which =
I had
never seen before.<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.volny.cz/dodovaseq/renesance/rs33.jpg">http://www.voln=
y.cz/dodovaseq/renesance/rs33.jpg</a><o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt;
mso-no-proof:yes'>Sg<o:p></o:p></span></font></p>

<p class=3DMsoPlainText><font size=3D3 face=3DArial><span =
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

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Subject: [h-cost] Does anyone recognize this language?
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http://www.volny.cz/dodovaseq/index.html
 
I tried a polish translator, but it didn't work.
 
Nicole I have emailed you personally because your site is linked.  Do
you know perhaps?
 
Sg
 
 

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10.0pt;font-family:Arial;color:navy'><a
href=3D"http://www.volny.cz/dodovaseq/index.html">http://www.volny.cz/dod=
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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>I tried a polish translator, but it =
didn&#8217;t
work.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Nicole I have emailed you =
personally
because your site is linked.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span>Do you
know perhaps?<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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Subject: RE: [h-cost] Does anyone recognize this language?
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Czech perhaps? It's certainly something in that area. It's not Hungarian
though, that much I know.

Talia
  -----Original Message-----
  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Saragrace Knauf
  Sent: Monday, January 20, 2003 10:08 AM
  To: h-costume@indra.com
  Cc: nicolas_fouquet@yahoo.com
  Subject: [h-cost] Does anyone recognize this language?


  http://www.volny.cz/dodovaseq/index.html



  I tried a polish translator, but it didn't work.



  Nicole I have emailed you personally because your site is linked.  Do you
know perhaps?



  Sg





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<DIV><SPAN class=3D470022616-20012003><FONT face=3DArial color=3D#0000ff =
size=3D2>Czech=20
perhaps? It's certainly something in that area. It's not Hungarian =
though, that=20
much I know.</FONT></SPAN></DIV>
<DIV><SPAN class=3D470022616-20012003><FONT face=3DArial color=3D#0000ff =

size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D470022616-20012003><FONT face=3DArial color=3D#0000ff =

size=3D2>Talia</FONT></SPAN></DIV>
<BLOCKQUOTE dir=3Dltr style=3D"MARGIN-RIGHT: 0px">
  <DIV class=3DOutlookMessageHeader dir=3Dltr align=3Dleft><FONT =
face=3DTahoma=20
  size=3D2>-----Original Message-----<BR><B>From:</B> =
h-costume-admin@indra.com=20
  [mailto:h-costume-admin@indra.com]<B>On Behalf Of </B>Saragrace=20
  Knauf<BR><B>Sent:</B> Monday, January 20, 2003 10:08 AM<BR><B>To:</B>=20
  h-costume@indra.com<BR><B>Cc:</B> =
nicolas_fouquet@yahoo.com<BR><B>Subject:</B>=20
  [h-cost] Does anyone recognize this language?<BR><BR></FONT></DIV>
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  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial"><A=20
  =
href=3D"http://www.volny.cz/dodovaseq/index.html">http://www.volny.cz/dod=
ovaseq/index.html</A><o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">I tried a =
polish=20
  translator, but it didn&#8217;t work.<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: =
Arial"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Nicole I =
have emailed=20
  you personally because your site is linked.<SPAN=20
  style=3D"mso-spacerun: yes">&nbsp; </SPAN>Do you know=20
  perhaps?<o:p></o:p></SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3DArial color=3Dnavy size=3D2><SPAN=20
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size=3D3><SPAN=20
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yes">Sg<o:p></o:p></SPAN></FONT></P></DIV>
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12pt"><o:p>&nbsp;</o:p></SPAN></FONT></P></DIV></DIV></BLOCKQUOTE></BODY>=
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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Does anyone recognize this language?
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Date: Mon, 20 Jan 2003 11:36:29 -0500 (EST)
Status: RO

Hungarian?  The TOC to the left, anyway--I recall seeing markings like
that over Cs in hungarian.

Drea


On Mon, 20 Jan 2003, Saragrace Knauf wrote:

> http://www.volny.cz/dodovaseq/index.html
>
> I tried a polish translator, but it didn't work.
>
> Nicole I have emailed you personally because your site is linked.  Do
> you know perhaps?
>
> Sg
>
>
>

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Thanks, Nicole kindly pointed out to me that cz stands for Czech
Republic.  Duh!
 
Sg
 
-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Talia
Sent: Monday, January 20, 2003 9:27 AM
To: h-costume@indra.com
Subject: RE: [h-cost] Does anyone recognize this language?
 
Czech perhaps? It's certainly something in that area. It's not Hungarian
though, that much I know.
 
Talia
 

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<p class=3DMsoNormal><font size=3D2 color=3D"#993366" face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:#993366'>Thanks, =
Nicole kindly
pointed out to me that <span class=3DSpellE><span =
class=3DGramE>cz</span></span>
stands for </span></font><st1:place><st1:PlaceName><font size=3D2 =
color=3D"#993366"
  face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:#993366'>Czech</span></=
font></st1:PlaceName><font
 size=3D2 color=3D"#993366" face=3DArial><span =
style=3D'font-size:10.0pt;font-family:
 Arial;color:#993366'> </span></font><st1:PlaceType><font size=3D2 =
color=3D"#993366"
  face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial;color:#993366'>Republic</span=
></font></st1:PlaceType></st1:place><font
size=3D2 color=3D"#993366" face=3DArial><span =
style=3D'font-size:10.0pt;font-family:
Arial;color:#993366'>.<span style=3D'mso-spacerun:yes'>&nbsp; =
</span>Duh!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3D"#993366" face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:#993366'><o:p>&nbsp;</o=
:p></span></font></p>

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Roman"><span
style=3D'font-size:12.0pt;color:#993366;mso-no-proof:yes'>Sg<o:p></o:p></=
span></font></p>

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<p class=3DMsoNormal><font size=3D2 color=3D"#993366" face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:#993366'><o:p>&nbsp;</o=
:p></span></font></p>

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0in 4.0pt'>

<p class=3DMsoNormal><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
font-family:Tahoma'>-----Original Message-----<br>
<b><span style=3D'font-weight:bold'>From:</span></b> =
h-costume-admin@indra.com
[mailto:h-costume-admin@indra.com] <b><span =
style=3D'font-weight:bold'>On Behalf
Of </span></b>Talia<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> =
</span></font><st1:date
Month=3D"1" Day=3D"20" Year=3D"2003"><font size=3D2 face=3DTahoma><span =
style=3D'font-size:
 10.0pt;font-family:Tahoma'>Monday, January 20, =
2003</span></font></st1:date><font
size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;font-family:Tahoma'> </span></font><st1:time
Hour=3D"9" Minute=3D"27"><font size=3D2 face=3DTahoma><span =
style=3D'font-size:10.0pt;
 font-family:Tahoma'>9:27 AM</span></font></st1:time><font size=3D2 =
face=3DTahoma><span
style=3D'font-size:10.0pt;font-family:Tahoma'><br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
h-costume@indra.com<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> RE: [h-cost] =
Does anyone
recognize this language?</span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D2 color=3Dblue face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:blue'>Czech perhaps? It's certainly =
something in
that area. It's not Hungarian though, that much I =
know.</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;<o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D2 color=3Dblue face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:blue'>Talia</span></font><o:p></o:p></p>

</div>

<blockquote =
style=3D'margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'>

<p class=3DMsoNormal =
style=3D'mso-margin-top-alt:0in;margin-right:0in;margin-bottom:
12.0pt;margin-left:41.25pt'><font size=3D3 face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt'><o:p>&nbsp;</o:p></span></font></p>

</blockquote>

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Date: Mon, 20 Jan 2003 16:45:24 +0000
Status: RO

As the URL has "cz" in it, it's presumably Czech?


Kate Bunting
Library, University of Derby

>>> saragrace@earthlink.net 01/20/03 04:08pm >>>
http://www.volny.cz/dodovaseq/index.html 
 
I tried a polish translator, but it didn't work.
 
Nicole I have emailed you personally because your site is linked.  Do
you know perhaps?
 
Sg
 
 


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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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References: <Pine.LNX.4.10.10301171509030.28154-100000@shell.nightowl.net> <008501c2be80$9ae22b40$890824d9@dan> <009501c2bedb$a26c0a60$54694ed5@pavilion> <002e01c2bf08$9a4434c0$541327d9@dan> <018f01c2bfef$4d42af20$54694ed5@pavilion> <004501c2c081$948edce0$842023d9@dan> <020401c2c085$b63efd80$45634ed5@your1p37d9kihs> <006a01c2c091$b6cd6460$842023d9@dan>
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Date: Mon, 20 Jan 2003 17:01:45 -0000
Status: RO

>I appreciate that, and you may have difficulties in buying the Veale
book anyway.

It is possible to buy most books if you know where to look

>But you don't need to; that is what libraries are for.

Really I never knew that !!! Once they might have been but libraries in
Leicestershire only go to A level standard at best now, so not a lot of hope
there. & please do not suggest ILL because I have spent a fortune on ILLs I
never get it is FAR cheaper to buy in the long run.

>You have still not told me
precisely what it is about the 13th century you are interested in,

I don't think I can really answer that question without boring the rest of
the list as the subjects within the 13th C in which I have an interest are
far ranging & deep

>a work of scholarship is not
going to provide neat little soundbites.

I am familiar with acedemic work. Some is better written that others. Giving
"it is an acedemic work" as an excuse for a poorly written piece is however
not a valid point.

There are some well written acedemic works which are a joy to read , others
are not.

Anyway I won't waste anymore of time (yours or mine) on this as I'm
interested in discussing costume (on this list anyhow) not acedemic
methology.

Mel
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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] Does anyone recognize this language?
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Date: Mon, 20 Jan 2003 11:04:33 -0600
Status: RO

Definitely not Hungarian!

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Drea Leed
Sent: Monday, January 20, 2003 10:36 AM
To: h-costume@indra.com
Cc: nicolas_fouquet@yahoo.com
Subject: Re: [h-cost] Does anyone recognize this language?


Hungarian?  The TOC to the left, anyway--I recall seeing markings like
that over Cs in hungarian.

Drea


On Mon, 20 Jan 2003, Saragrace Knauf wrote:

> http://www.volny.cz/dodovaseq/index.html
>
> I tried a polish translator, but it didn't work.
>
> Nicole I have emailed you personally because your site is linked.  Do
> you know perhaps?
>
> Sg
>
>
>

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Re: fur in dress; was: companies and fur linings
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Date: Mon, 20 Jan 2003 17:03:42 -0000
Status: RO

>She directly quotes or summarizes evidence
from numerous period texts, beginning with 13th
century accounts and moving foward through the 14th
and 15th century primary sources

Thanks Tasha that was the kind of info on the book I was after

Mel

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 Italian Dress
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Date: Tue, 21 Jan 2003 06:45:25 -0800
Status: RO



Saragrace Knauf wrote:

>    Part 1.1    Type: Plain Text (text/plain)
>            Encoding: 7bit

Sorry Saragrace - I still haven't worked out how to stop this happening
so
you'll have to remember your message as best as you can.
I have made a few gowns that have very wide necklines (and therefore
very
small shoulder pieces - of order 1-2 cm wide), and one that was off the
shoulder.
The trick with wide necklines is to have the bodice fit very well and
tightly, the
armhole small and high, and the edge of the neckline sitting just a
teensy bit over
the bony lump where your shoulder joint begins. I have no problem
moving, dancing
pulling down tents in a dress like this without it falling off my
shoulders.
The off the shoulder dress was a 1660's style, which was designed to be
off
the shoulder. The shoulder straps cover the top 5cm or so of the arm.
This does
make it difficult to move my shoulders (ie I have a fairly restricted
arm movement)
which is a bit annoying, but the straps don't fall down, mainly I think,
because the
bodice is boned within an inch of its life.
The principal trick is tension I think - if the shoulder straps are
under tension they
will be less likely to move.

Claire

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Date: Mon, 20 Jan 2003 17:11:45 -0500
Status: RO

> The principal trick is tension I think - if the shoulder straps are
> under tension they
> will be less likely to move.

This, in any case, is true of bra straps. I'm a 32A, I don't really need
support, so once in a while I don't notice the straps are too loose....
until they fall off my shoulders :-) It never happens when they're tight
enough.

I'm wondering though - what about fabrics that don't stretch? If you need
tension to keep them on your shoulders, won't that restrict your movements,
or give you shoulder pains? Or is it loose enough despite the tension not to
be a problem?
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Definitely Czech.  It is very similar to Russian except it isn't written in 
Cyrillic but with Latin lettering.  Find a good Czech dictionary or on line 
translator and you should have it.  I remember once my husband and I were 
looking for a Brethren Church in Brno and only knew it was opposite the 
Intercontinental Hotel.  We went looking up and down the street not seeing 
anything that looked like a meeting house, until I spied this arched gateway 
and at the top it said, "Bratsky Cerkov"  which in Russian means "Brethren 
Church".  I just had to do the translating between the Russian Cyrillic I 
knew to the transliteration of it in Latin letters.

Hope it helps.

Donna Scarfe 
Fyne Hats By Felicity
Period Headgear for Past Ages
www.fynehatsbyfelicity.com







From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Does anyone recognize this language?
Date: Mon, 20 Jan 2003 10:26:58 -0600
Reply-To: h-costume@mail.indra.com

This is a multi-part message in MIME format.

------=_NextPart_000_025A_01C2C06E.76567BB0
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    charset="US-ASCII"
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Czech perhaps? It's certainly something in that area. It's not Hungarian
though, that much I know.

Talia
  -----Original Message-----
  From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Saragrace Knauf
  Sent: Monday, January 20, 2003 10:08 AM
  To: h-costume@indra.com
  Cc: nicolas_fouquet@yahoo.com
  Subject: [h-cost] Does anyone recognize this language?


  http://www.volny.cz/dodovaseq/index.html



  I tried a polish translator, but it didn't work.



  Nicole I have emailed you personally because your site is linked.  Do you
know perhaps?



  Sg



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=3><BR>
<BR>
Definitely Czech.&nbsp; It is very similar to Russian except it isn't written in Cyrillic but with Latin lettering.&nbsp; Find a good Czech dictionary or on line translator and you should have it.&nbsp; I remember once my husband and I were looking for a Brethren Church in Brno and only knew it was opposite the Intercontinental Hotel.&nbsp; We went looking up and down the street not seeing anything that looked like a meeting house, until I spied this arched gateway and at the top it said, "Bratsky Cerkov"&nbsp; which in Russian means "Brethren Church".&nbsp; I just had to do the translating between the Russian Cyrillic I knew to the transliteration of it in Latin letters.<BR>
<BR>
Hope it helps.<BR>
<BR>
Donna Scarfe <BR>
Fyne Hats By Felicity<BR>
Period Headgear for Past Ages<BR>
www.fynehatsbyfelicity.com<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
From: "Talia" &lt;khanson@kc.rr.com&gt;<BR>
To: &lt;h-costume@indra.com&gt;<BR>
Subject: RE: [h-cost] Does anyone recognize this language?<BR>
Date: Mon, 20 Jan 2003 10:26:58 -0600<BR>
Reply-To: h-costume@mail.indra.com<BR>
<BR>
This is a multi-part message in MIME format.<BR>
<BR>
------=_NextPart_000_025A_01C2C06E.76567BB0<BR>
Content-Type: text/plain;<BR>
&nbsp;&nbsp;&nbsp; charset="US-ASCII"<BR>
Content-Transfer-Encoding: 7bit<BR>
<BR>
Czech perhaps? It's certainly something in that area. It's not Hungarian<BR>
though, that much I know.<BR>
<BR>
Talia<BR>
&nbsp; -----Original Message-----<BR>
&nbsp; From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On<BR>
Behalf Of Saragrace Knauf<BR>
&nbsp; Sent: Monday, January 20, 2003 10:08 AM<BR>
&nbsp; To: h-costume@indra.com<BR>
&nbsp; Cc: nicolas_fouquet@yahoo.com<BR>
&nbsp; Subject: [h-cost] Does anyone recognize this language?<BR>
<BR>
<BR>
&nbsp; http://www.volny.cz/dodovaseq/index.html<BR>
<BR>
<BR>
<BR>
&nbsp; I tried a polish translator, but it didn't work.<BR>
<BR>
<BR>
<BR>
&nbsp; Nicole I have emailed you personally because your site is linked.&nbsp; Do you<BR>
know perhaps?<BR>
<BR>
<BR>
<BR>
&nbsp; Sg<BR>
<BR>
<BR>
</FONT></HTML>
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From h-costume-admin@indra.com  Mon Jan 20 17:57:03 2003
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From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Mon, 20 Jan 2003 17:55:59 -0500
Status: RO

Perhaps how the back of the neckline is cut makes a difference.  If it was 
cut quite high, just below the shoulder line, wouldn't that make it stay up?



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson





>From: "Saragrace Knauf" <saragrace@earthlink.net>
>Reply-To: h-costume@indra.com
>To: <h-costume@indra.com>
>Subject: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's 
>Italian Dress
>Date: Mon, 20 Jan 2003 08:24:31 -0700
>
>I was wondering for those of you who had made and worn gowns where the
>cut of the gown is such that the shoulder piece is very small, almost
>non existent, or truly cut such that the sleeve is off the shoulder.
>
>Does the gown stay up because of the way the bodice is fit? Do the
>sleeves stay in place, or do they fall down a lot?
>
>Does it drive you crazy?
>
>The referenced Italian is one that would seem prone to this problem.
>
>http://www.geocities.com/ailithmac/Green1.jpg
>
>An "English' example
>
>http://www.geocities.com/athens/forum/9194/maryqos5.jpg
>
>And of course
>
>http://www.abcgallery.com/H/holbein/holbein3.html
>
>
>I have tended to make and recommend this type of arrangement for folks
>like me who are moving around a lot.
>
>http://www.volny.cz/dodovaseq/renesance/rs46.jpg
>
>
>Oh and while poking around for examples, I came across this portrait
>which I had never seen before.
>
>http://www.volny.cz/dodovaseq/renesance/rs33.jpg
>
>
>Sg
>


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From h-costume-admin@indra.com  Mon Jan 20 18:09:47 2003
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Subject: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 18:09:34 -0500
Status: RO

I am looking for suggestions... a friend and I have both had surgeries on
disks in our backs.  When we sit behind the sewing machines... in 15-30 min.
our back is hurting.  I always thought my pain was from being so tall and
having to been over to see the stitching as it went through the presser
foot.  I sew at the dining room table, which is a good height.  It doesn't
hurt when I sit at the table to cut.  Can anyone offer suggestions as to how
to help prevent the backaches... other than tying my back to the chair.

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 Jan 20 18:15:52 2003
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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 16:15:37 -0700
Status: RO

I wonder if one of those tilted plastic pieces that tilts the machine
towards you would help.  I know Nancy's Notions and I think Clothtilde
sells them.

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Penny Ladnier
>Sent: Monday, January 20, 2003 4:10 PM
>To: h-costume
>Subject: [h-cost] Sewing Machines and Backaches
>
>I am looking for suggestions... a friend and I have both had surgeries
on
>disks in our backs.  When we sit behind the sewing machines... in 15-30
min.
>our back is hurting.  I always thought my pain was from being so tall
and
>having to been over to see the stitching as it went through the presser
>foot.  I sew at the dining room table, which is a good height.  It
doesn't
>hurt when I sit at the table to cut.  Can anyone offer suggestions as
to how
>to help prevent the backaches... other than tying my back to the chair.
>
>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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From h-costume-admin@indra.com  Mon Jan 20 18:30:02 2003
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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Date: Mon, 20 Jan 2003 23:33:38 -0000
Status: RO

Penny,
this may seem an expensive suggestion, but have you considered one of
those strange stool/chairs designed to minimise back pain and further
damage to the back? They are very difficult to describe, but you
practically kneel on them rather than sit on them; they don't have a
conventional back at all. A friend has one, and he has found his
condition has improved considerably; so much so that he's trying to
persuade me to get one for myself. They take a bit of getting used to,
but you only have one spine and you need to take care of it, and
yourself.
best wishes
Stevie


----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Monday, January 20, 2003 11:09 PM
Subject: [h-cost] Sewing Machines and Backaches


> I am looking for suggestions... a friend and I have both had
surgeries on
> disks in our backs.  When we sit behind the sewing machines... in
15-30 min.
> our back is hurting.  I always thought my pain was from being so
tall and
> having to been over to see the stitching as it went through the
presser
> foot.  I sew at the dining room table, which is a good height.  It
doesn't
> hurt when I sit at the table to cut.  Can anyone offer suggestions
as to how
> to help prevent the backaches... other than tying my back to the
chair.
>
> 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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From h-costume-admin@indra.com  Mon Jan 20 18:32:46 2003
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Subject: Re: [h-cost] Sewing Machines and Backaches
To: h-costume@indra.com
In-Reply-To: <000201c2c0d9$d9c27030$6601a8c0@mycomputer> from "Saragrace Knauf" at Jan 20, 2003 04:15:37 PM
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Date: Mon, 20 Jan 2003 15:31:54 -0800 (PST)
Status: RO

another 'tilt' thing that works well is cheap student drafting tables.
you can usually find a student getting rid of them for cheap/free, and
then you can adjust your sewing surface to tilt to the degree of your comfort.

.heather.

(i've done this, it worked well for me at the time)

> 
> I wonder if one of those tilted plastic pieces that tilts the machine
> towards you would help.  I know Nancy's Notions and I think Clothtilde
> sells them.
> 
> Sg
> 
> 
> >-----Original Message-----
> >From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> >Behalf Of Penny Ladnier
> >Sent: Monday, January 20, 2003 4:10 PM
> >To: h-costume
> >Subject: [h-cost] Sewing Machines and Backaches
> >
> >I am looking for suggestions... a friend and I have both had surgeries
> on
> >disks in our backs.  When we sit behind the sewing machines... in 15-30
> min.
> >our back is hurting.  I always thought my pain was from being so tall
> and
> >having to been over to see the stitching as it went through the presser
> >foot.  I sew at the dining room table, which is a good height.  It
> doesn't
> >hurt when I sit at the table to cut.  Can anyone offer suggestions as
> to how
> >to help prevent the backaches... other than tying my back to the chair.
> >
> >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
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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To: h-costume@indra.com
From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 15:51:55 -0800
Status: RO

me too.  I have dealt with this for years.  Mine was when my son was five 
months and he will be 20 in a month.  The main things are to have your 
sewing machine at the right height and to have a good chair with good 
support.  I also have my machine on an angled table so that the back is 
higher than the front.  You have to try to sit fairly straight and not 
slouch.  If you had the surgery recently, I can tell you that it took a 
solid year for me to really recover.
the only other thing that I can suggest is they have this device they sell 
at the state fair.  It is a back support and it hooks around your 
knees.  if you can find one of those it might help.  and, I hate to say it, 
but there are days when 15-30 minutes is my best.  you just have to do what 
your body tells you to do.  best of luck to you, you have my complete 
understanding and sympathy.  maryann

At 06:09 PM 1/20/2003 -0500, you wrote:
>I am looking for suggestions... a friend and I have both had surgeries on
>disks in our backs.  When we sit behind the sewing machines... in 15-30 min.
>our back is hurting.  I always thought my pain was from being so tall and
>having to been over to see the stitching as it went through the presser
>foot.  I sew at the dining room table, which is a good height.  It doesn't
>hurt when I sit at the table to cut.  Can anyone offer suggestions as to how
>to help prevent the backaches... other than tying my back to the chair.
>
>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>
To: h-costume@indra.com
Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 16:07:19 -0800
Status: RO


have you considered one of
>those strange stool/chairs designed to minimise back pain and further
>damage to the back? They are very difficult to describe, but you
>practically kneel on them rather than sit on them; they don't have a
>conventional back at all

We had one in the office where I did my work study in college.  It seemed 
weird at first, but something about the way you are kneeling/sitting really 
did make hours of paperwork at a desk NOT suited to my height bearable.

My Papa got one when I was younger too and swore by it.  I can try to find 
out if my folks remember where they got it if you're interested.





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

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





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From h-costume-admin@indra.com  Mon Jan 20 19:19:49 2003
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Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 11:20:07 +1100
Status: RO


I always found dining room tables the wrong height for sewing.

I have a sewing table which was my nanna's and it's higher than the dining
room table, and I use a regular chair at it.

My mum bought one of those Horn sewing tables and it came with a chair.  The
chair is so low that eye level as the needle on the sewing machine.  It felt
weird at first but I never slouched at the machine and so had less back
pain.

Karen
-----
www.members.optusnet.com.au/smonster/


> I am looking for suggestions... a friend and I have both had surgeries on
> disks in our backs.  When we sit behind the sewing machines... in 15-30
min.
> our back is hurting.  I always thought my pain was from being so tall and
> having to been over to see the stitching as it went through the presser
> foot.  I sew at the dining room table, which is a good height.  It doesn't
> hurt when I sit at the table to cut.  Can anyone offer suggestions as to
how
> to help prevent the backaches... other than tying my back to the chair.
>

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From h-costume-admin@indra.com  Mon Jan 20 19:37:52 2003
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Date: Mon, 20 Jan 2003 19:38:14 -0500
Status: RO

Are you all suggesting one of those ergonomics chairs?  I haven't thought
about a slanting table before.

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 Jan 20 19:45:09 2003
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Subject: Re: [h-cost] Re: fur in dress; was: companies and fur linings
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Date: Mon, 20 Jan 2003 17:45:14 -0700
Status: RO

My kitties say that they do, indeed, grow their furs so that they stay
warm, and can't figure out why I don't do the same, since I *am* a
mammal, after all...<g>
While cleaning out old emails at work today, I ran across this joke,
which immediately of this thread.  So, here ya go!
--sue, running for safety ;-P

> After the Ark had successfully landed on Mt. Ararat, the 
> survivors went forth. After a while, one of the wives noticed her 
> father-in-law sitting on the ground and chewing animal hides. Every 
> now and then, the father-in-law would chew a particularly hirsute hide 
> and make a notation on a tablet. 
> 
> The wife asked her husband what his father was doing, to 
> which the son replied, "What can I say, there is Noah 
> counting fur tastes."
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From h-costume-admin@indra.com  Mon Jan 20 19:48:49 2003
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Date: Mon, 20 Jan 2003 17:48:43 -0700
Status: RO

I suspect it's an ergonomic thing...like sitting the correct way at
one's computer.  Especially since it doesn't seem to be the sitting
that's bothering you, but the sitting and sewing....
It occurs to me that maybe you could talk to a physical therapist? one
who specializes in rehab--getting people to the point where they can go
back to work after being injured? The PT might have some
recommendations.  The littlest things can make the biggest differences,
sometimes....
Good luck,
Sue

Penny Ladnier wrote:
> 
> I am looking for suggestions... a friend and I have both had surgeries on
> disks in our backs.  When we sit behind the sewing machines... in 15-30 min.
> our back is hurting.  I always thought my pain was from being so tall and
> having to been over to see the stitching as it went through the presser
> foot.  I sew at the dining room table, which is a good height.  It doesn't
> hurt when I sit at the table to cut.  Can anyone offer suggestions as to how
> to help prevent the backaches... other than tying my back to the chair.
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Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 20:03:58 -0500
Status: RO

Sue,

Unfortunately my insurance company says I have used up my life time usage
for PT... at 45 yo.  I do have to go to a PT to get a tens unit for pain
this week.  Wondering how the insurance company will like that!

I actually stopped sewing clothing on machine about 15 years ago because of
the pain.  Quilting by machine doesn't take as much out of me.  Sewing
clothing I can only last 5-10 minutes.  I can last 15-30 minutes when
quilting because of straight seams.  Then I take some pain meds, and go to
bed on a heating pad.  When I feel better, I start all over again.

My neck surgery was three years ago.  My friend has had three disks removed
from her low back last year and is learning to quilt by machine.  I want to
offer her some suggestions before she gets into pain from sitting behind the
machine.

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] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 20:31:11 -0500
Status: RO

Penny, having just  been through my latest round of dealing with this
problem, I have invested in a 'sacro cushion" that gives some relief with
ordinary chairs.  (You might equate it with the 'doughnut' cushions from the
past for people with a 'certain problem.') This cushion is designed to
distribute weight and pressure on the spine. It can be found at a specialty
store for health related appliances, or in a number of "health catalogues."
I also find that perching on a high stool is more comfortable than sitting
in a low chair.  My cutting table is about 36" high and so I don't have to
endure that awful bent position that aggravates the discs.  I can set my
machine on this table also when needed.         Good luck, Kathleen
----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Monday, January 20, 2003 6:09 PM
Subject: [h-cost] Sewing Machines and Backaches


> I am looking for suggestions... a friend and I have both had surgeries on
> disks in our backs.  When we sit behind the sewing machines... in 15-30
min.
> our back is hurting.  I always thought my pain was from being so tall and
> having to been over to see the stitching as it went through the presser
> foot.  I sew at the dining room table, which is a good height.  It doesn't
> hurt when I sit at the table to cut.  Can anyone offer suggestions as to
how
> to help prevent the backaches... other than tying my back to the chair.
>
> 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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From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] Sewing Machines and Backaches
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Date: Mon, 20 Jan 2003 22:10:52 -0500
Status: RO

MaryAnn wrote:

>the only other thing that I can suggest is they have this device they sell 
>at the state fair. It is a back support and it hooks around your knees. if 
>you can find one of those it might help.

It's called a "Nada Chair". <http://www.nadachair.com> I find mine useful 
when I've been on my feet too long... it takes a lot of the stress off my 
calves when I sit down.

Another possibility might be that weighted harness they used to sell that 
you wear like a backpack, and the weight sets around the lumbar region, 
supposedly forcing you to sit straight...


Brenda
webwarren@earthlink.net


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From h-costume-admin@indra.com  Mon Jan 20 22:23:02 2003
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Date: Mon, 20 Jan 2003 22:19:09 -0500
Status: RO

The microscope is the only definitive test, but a test I've never seen
mentioned, could be called the "iron test"
set your iron on linen and see what happens when you try to iron the
fabric.  If it sticks or easily scorches, it's not linen or 100% linen.
The first "linen" I bought (cut pieces on a table, labled linen) was
sticky when I tried to iron it  I later discovered a bolt of fabric that
looked similar.  It was marked 10% linen 90% rayon..

Dot Fisher

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From: kris <ionization@shaw.ca>
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Subject: [h-cost] Thai Fisherman pant pattern.
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Date: Mon, 20 Jan 2003 20:27:30 -0800
Status: RO

A friend of mine has these awesome pants that are called "Thai Fisherman 
Pants" I've looked all over the web for a diagram or a pattern, but haven't 
been able to find anything except places selling them. Does anyone have a 
pattern source or a diagram I could use? I'd borrow my friends pants, but 
she lives in another city :/

I'm planning on making them to wear for an Asian themed SCA feast, but I 
don't mind if the pattern isn't that documented :]

Thanks!
Kris

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Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 00:46:10 -0500
Status: RO

If you are all talking about the chair I am picturing - how would you 
use the foot pedal? Doesn't it end up with the feet sort of back, as you 
sort of kneel? Even a knee pedal, though possible, would be a nuisance, 
but you really can't, I think, use feet with these.

Anne


Jennifer Sena wrote:

>
> have you considered one of
>
>> those strange stool/chairs designed to minimise back pain and further
>> damage to the back? They are very difficult to describe, but you
>> practically kneel on them rather than sit on them; they don't have a
>> conventional back at all
>
>
> We had one in the office where I did my work study in college.  It 
> seemed weird at first, but something about the way you are 
> kneeling/sitting really did make hours of paperwork at a desk NOT 
> suited to my height bearable.
>
> My Papa got one when I was younger too and swore by it.  I can try to 
> find out if my folks remember where they got it if you're interested.
>
>
>
>
>
> 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?Jane=20Williams?= <janewilliams20@yahoo.co.uk>
Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 07:15:10 +0000 (GMT)
Status: RO

 --- Stevie Gamble <stevie.gamble@btinternet.com>
wrote: 

> Penny,
> this may seem an expensive suggestion, but have you
> considered one of
> those strange stool/chairs designed to minimise back
> pain and further
> damage to the back? They are very difficult to
> describe, but you
> practically kneel on them rather than sit on them;
> they don't have a
> conventional back at all. 

I know the gadgets, and I'd also recommend trying one
for general purposes, but would it work for operating
a sewing machine? As I recall, the semi-kneeling
position does indeed have part of your weight on your
knees and calves and your feet pointing backwards. How
would you operate the foot pedal?


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Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 08:05:58 +0000 (GMT)
Status: RO

 --- Jane Williams <janewilliams20@yahoo.co.uk> wrote: >  
> I know the gadgets, and I'd also recommend trying one
> for general purposes, but would it work for operating
> a sewing machine? As I recall, the semi-kneeling
> position does indeed have part of your weight on your
> knees and calves and your feet pointing backwards. How
> would you operate the foot pedal?

I think we had this discussion last year or so, or was it on another list?
Anyway, there seem to be pedals available that are operated by the elbow or
hand or something. I am wondering if we talked about this on the margospattern
list?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Tue, 21 Jan 2003 00:06:39 -0800
Status: RO

I have recently seen pictures and have read about belts of bells that 
were worn during the 14th C. maybe 15th C.   Can anyone help me with 
further information about this subject?

Roscelin

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Subject: [h-cost] Backaches/footpedals
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Date: Tue, 21 Jan 2003 00:27:15 -0800
Status: RO


>If you are all talking about the chair I am picturing - how would you use 
>the foot pedal? Doesn't it end up with the feet sort of back, as you sort 
>of kneel? Even a knee pedal, though possible, would be a nuisance, but you 
>really can't, I think, use feet with these.

You don't need feet.  Just mount the foot pedal on the inside of your sewing 
table and use sideways pressure at the knee.  Think of the press here pad at 
discount grocery stores that are to advance the conveyorbelt with the food 
on it.  My pedal doesn't take much pressure to operate.  Once you have the 
chair, I would think sitting in it and feeling where the easiest spot/best 
place is for mounting would be the best answer.




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: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 00:53:14 -0800
Status: RO


>Then I take some pain meds, and go to
>bed on a heating pad.  When I feel better, I start all over again.

Would it help to put the heating pad on first, then start sewing?

But my basic suggestion is to get the machine high enough that you don't 
have to use those back muscles to hold you in position to sew.  I'd try 
sticking some encyclopedia volumes under it.  I used to get backaches when 
I had the machine on a table so low I had to bend over to squint to see 
what I was sewing.  Now I use a higher table, and that doesn't happen.

Kayta

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Date: Tue, 21 Jan 2003 14:50:50 -0000
Status: RO

Brenda wrote, about

>the charming tale
> >of Bishop Wulfstan and the absence of the Cat of God.

> I don't recall ever hearing this tale... it sounds interesting...

I feel sure that all the cats I have ever met would like it to be
known that cat fur was a much sought after item, as befits such a
purrfect species, though they would take a dim view of their exclusion
from la creme de la creme...
In the 11th century, when Wulfstan was bishoping in Worcester, clergy
of such standing should have worn sable, beaver or fox., but he chose
instead to wear the very lowly lambskin. And when people protested
that even if he refused to  wear sable he could at least wear
catskins, he declined, saying
"Believe me, men sing oftener of the Lamb of God than the cat of God."
All the cats I have ever met would have agreed, on the basis that they
are gods themselves...

best wishes
Stevie


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Subject: RE: [h-cost] Bell belts
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Date: Tue, 21 Jan 2003 09:26:29 -0600
Status: RO

Hmmm, if I recall correctly, there are some pictured in Tres Belles Heures
des Duc de Berry, which can be found in several places online...

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Roscelin
Sent: Tuesday, January 21, 2003 2:07 AM
To: H-Costume
Subject: [h-cost] Bell belts


I have recently seen pictures and have read about belts of bells that
were worn during the 14th C. maybe 15th C.   Can anyone help me with
further information about this subject?

Roscelin

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From: mabse@attbi.com
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Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Tue, 21 Jan 2003 15:42:44 +0000
Status: RO

I used one of these chairs for sewing for years.  I can't remember why I 
stopped, but I started to find that it was too hard on my knees.  However, I 
never had any problem using the foot pedal.  I just stuck it under my foot.  The 
advantage of those chairs is that it is very hard to slouch.  The better you can 
control your posture, the better off you are.  maryann
> If you are all talking about the chair I am picturing - how would you 
> use the foot pedal? Doesn't it end up with the feet sort of back, as you 
> sort of kneel? Even a knee pedal, though possible, would be a nuisance, 
> but you really can't, I think, use feet with these.
> 
> Anne
> 
> 
> Jennifer Sena wrote:
> 
> >
> > have you considered one of
> >
> >> those strange stool/chairs designed to minimise back pain and further
> >> damage to the back? They are very difficult to describe, but you
> >> practically kneel on them rather than sit on them; they don't have a
> >> conventional back at all
> >
> >
> > We had one in the office where I did my work study in college.  It 
> > seemed weird at first, but something about the way you are 
> > kneeling/sitting really did make hours of paperwork at a desk NOT 
> > suited to my height bearable.
> >
> > My Papa got one when I was younger too and swore by it.  I can try to 
> > find out if my folks remember where they got it if you're interested.
> >
> >
> >
> >
> >
> > 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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> h-costume@mail.indra.com
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Subject: Re: [h-cost] Bell belts
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Date: Tue, 21 Jan 2003 07:30:29 -0800
Status: RO

All I can remember is that they're called "folly bells."

Arlys

On Tue, 21 Jan 2003 00:06:39 -0800 Roscelin <roscelin@attbi.com> writes:
> I have recently seen pictures and have read about belts of bells that 
> 
> were worn during the 14th C. maybe 15th C.   Can anyone help me with 
> 
> further information about this subject?
> 
> Roscelin
> 
> _______________________________________________
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> 


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Date: Tue, 21 Jan 2003 08:17:07 -0800
Status: RO

Penny,

I have had chronic back problems for years, I have a degenerated disk in the
lower portion of my back, at the waist.  The first thing you should do is
get up frequently.  My doctor said every 20 minutes or so.  You don't have
to go away, just stand, stretch and change your position (good advice, but
I'm not always good about it).  You can purchase a "Tilt'table" from Nancy's
Notions (and probably several other places) that will tilt the sewing
maching a bit forward, to avoid your having to bend your neck while you feed
the fabric through, and I wouldn't recommend a fancy chair, just a good one
with an adjustable back support.  The other thing I had a great deal of
success with is a TENS unit. It is an electric stimulation device, and if
worn while sewing, is actually like doing back excercises while you sit
there.  It's been a great relief to me, as well as acupuncture, but now that
Kaiser no longer covers that I can't afford it.

I hope this isnt' redundant, I haven't been able to read the entire thread.
My husband had a massive cerebral hemorrhage on Monday, and we've had a
scary week.  The power of prayer is amazing though, as he has suffered
absolutely no long term damage and absent any finding of aneurism this
morning (I'm on my way to the hospital) he will be released to learn how to
monitor his blood pressure.  It was 298/199 upon admittance to the ER.

You guys be good to each other, and to the folks you love.  Your life can
change in an instant.  I do believe everything will be alright, but when
someone almost dies, you sure get a new perspective.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"If to do were as easy as to know what were good to do,
chapels had been churches,
and poor men's cottages princes' palaces."
The Merchant of Venice, I, ii - William Shakespeare


----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Monday, January 20, 2003 3:09 PM
Subject: [h-cost] Sewing Machines and Backaches


> I am looking for suggestions... a friend and I have both had surgeries on
> disks in our backs.  When we sit behind the sewing machines... in 15-30
min.
> our back is hurting.  I always thought my pain was from being so tall and
> having to been over to see the stitching as it went through the presser
> foot.  I sew at the dining room table, which is a good height.  It doesn't
> hurt when I sit at the table to cut.  Can anyone offer suggestions as to
how
> to help prevent the backaches... other than tying my back to the chair.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> http://www.costumegallery.com
> http://www.costumeclassroom.com
> http://www.onlinecostumeball.com
>
>
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>
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Subject: [h-cost] Fw: history of tomato pincushion
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Date: Tue, 21 Jan 2003 11:49:01 -0500
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A teacher has asked me an interesting question about tomato pin cushions.
If you have an answer please write Debbie at dprovencher@lwhs.will.k12.il.us
but also share with the list... the answer might be an interesting piece of
trivia.

Here is her question:

Do you know why pincushions are tomatoes?  I had a student ask me this and I
thought it might be an interesting history to share with my class.

Debbie Provencher
dprovencher@lwhs.will.k12.il.us

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<DIV>A teacher has asked me an interesting question about tomato pin=20
cushions.&nbsp; If you have an answer please write&nbsp;Debbie =
at&nbsp;<A=20
href=3D"mailto:dprovencher@lwhs.will.k12.il.us">dprovencher@lwhs.will.k12=
.il.us</A>&nbsp;=20
but also share with the list... the answer might be an interesting piece =
of=20
trivia.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Here is her question:</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>Do you know why pincushions are tomatoes?&nbsp; =
I had a=20
student ask me this and I thought it might be an interesting history to =
share=20
with my class.</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>Debbie Provencher</FONT></DIV>
<DIV><FONT face=3DArial><A=20
href=3D"mailto:dprovencher@lwhs.will.k12.il.us">dprovencher@lwhs.will.k12=
.il.us</A></FONT></DIV></BODY></HTML>

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From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Bell belts
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Date: Tue, 21 Jan 2003 11:43:12 -0600
Status: RO

Here's a quick little link about folly bells:
http://www.virtue.to/articles/bells.html

Talia


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Cynthia J Ley
Sent: Tuesday, January 21, 2003 9:30 AM
To: h-costume@indra.com
Subject: Re: [h-cost] Bell belts


All I can remember is that they're called "folly bells."

Arlys

On Tue, 21 Jan 2003 00:06:39 -0800 Roscelin <roscelin@attbi.com> writes:
> I have recently seen pictures and have read about belts of bells that 
> 
> were worn during the 14th C. maybe 15th C.   Can anyone help me with 
> 
> further information about this subject?
> 
> Roscelin
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Hello everyone,

I would like to know if anyone knows what fabric is used for a Sack Suit. All I know, right know about the suit is that It's early 20th century and Edison wore one. 

My theater is doing the play ' Camping with Henry and Tom". This play is about Herny Ford, Thomas Edison and President Wilson on a campping trip. The gentleman playing Edison needs this suit made for him. We do have a picture of a 'Sack Suit' and know it is make of a light color fabric. 

Sharon Greany



---------------------------------
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<P>Hello everyone,</P>
<P>I would like to know if anyone knows what fabric is used for a Sack Suit. All I know, right know about the suit is that It's early 20th century and Edison wore one. </P>
<P>My theater is doing the play ' Camping with Henry and Tom". This play is about Herny Ford,&nbsp;Thomas Edison and President Wilson on a campping trip. The gentleman playing Edison needs this suit made for him. We do have a picture of a 'Sack Suit' and know it is make of a light color fabric. </P>
<P>Sharon Greany</P><p><br><hr size=1>Do you Yahoo!?<br>
<a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Yahoo! Mail Plus</a> - Powerful. Affordable. <a href="http://rd.yahoo.com/mail/mailsig/*http://mailplus.yahoo.com">Sign up now</a>
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From: Chris Laning <claning@igc.org>
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Subject: Re: [h-cost] Fw: history of tomato pincushion
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I don't know the answer, but this question is my classic example of "the things that never get mentioned in documents because at the time they are current, everyone takes them for granted." We all wish that people in the past had thought to write down, somewhere, things like this.

Original message attached.


____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
____________________________________________________________
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<DIV>A teacher has asked me an interesting question about tomato pin 
cushions.&nbsp; If you have an answer please write&nbsp;Debbie at&nbsp;<A 
href="mailto:dprovencher@lwhs.will.k12.il.us">dprovencher@lwhs.will.k12.il.us</A>&nbsp; 
but also share with the list... the answer might be an interesting piece of 
trivia.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Here is her question:</DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial>Do you know why pincushions are tomatoes?&nbsp; I had a 
student ask me this and I thought it might be an interesting history to share 
with my class.</FONT></DIV>
<DIV><FONT face=Arial></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial>Debbie Provencher</FONT></DIV>
<DIV><FONT face=Arial><A 
href="mailto:dprovencher@lwhs.will.k12.il.us">dprovencher@lwhs.will.k12.il.us</A></FONT></DIV></BODY></HTML>

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Sharon,

I have a section about men's fashion and includes a lot of sack suits.
http://www.costumegallery.com/1910/Men/Suits/  Also look at the fabrics
article.

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


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<DIV>Sharon,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I have a section about men's fashion and includes a lot of sack=20
suits.&nbsp; <A=20
href=3D"http://www.costumegallery.com/1910/Men/Suits/">http://www.costume=
gallery.com/1910/Men/Suits/</A>&nbsp;=20
Also look at the fabrics article.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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Subject: [h-cost] 60's large lot on Ebay
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Date: Tue, 21 Jan 2003 20:54:02 -0000
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Hi all,

For anyone into eyepopping 60's stuff, or is costuming a production in
that period,  there is a large lot at

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=14074&item=2804
213712

I've bought quite a lot of stuff from this lady, and always been happy
with it; she gets an amazing range of things:-)

best wishes
Stevie

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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's  
 Italian Dress
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Date: Wed, 22 Jan 2003 06:12:54 -0800
Status: RO



Audrey Bergeron-Morin wrote:

> > The principal trick is tension I think - if the shoulder straps are
> > under tension they
> > will be less likely to move.
>
> This, in any case, is true of bra straps. I'm a 32A, I don't really need
> support, so once in a while I don't notice the straps are too loose....
> until they fall off my shoulders :-) It never happens when they're tight
> enough.
>
> I'm wondering though - what about fabrics that don't stretch? If you need
> tension to keep them on your shoulders, won't that restrict your movements,
> or give you shoulder pains? Or is it loose enough despite the tension not to
> be a problem?
>

No - it's just a very tight, firm fit. I suppose with this sort of thing you
have to make
sure it's well fitted as any bits in wrong place could be rather uncomfortable.
Plus
if the straps are sitting on the top of your shoulder joint, not on the side, it
won't
restrict your arm movements.

Claire


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Date: Wed, 22 Jan 2003 06:16:18 -0800
Status: RO



Nancy Kiel wrote:

> Perhaps how the back of the neckline is cut makes a difference.  If it was
> cut quite high, just below the shoulder line, wouldn't that make it stay up?
>

Not necessarily in my experience. Look at those Tudor gowns - the few pics we
have of the back show they have a deep V in the back. If you have a high neck
at back then vertical tension across the back can help keep the shoulders on. If

you have a low back then vertical tension in the straps is what keeps them on.

Claire

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Subject: [h-cost] Golden Globe Fashion Bloopers
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Date: Tue, 21 Jan 2003 16:41:51 -0500
Status: RO

Did anyone notice these two bloopers...

I can't believe everyone isn't talking about this!!!!!!

Meryl Steep when accepting her award when she first was on stage... people
were applauding... Meryl was not showing much cleavage on her low cut dress.
She reached her hand in the left side bodice of the dress and moved her
breast forward.  THEN did the same thing with the other breast.  DID she not
think the cameras were on her!!!!!!!!! She was standing at a mic on stage!!!
Well she did have cleavage after that.  I laughed myself silly when I saw
her do this.

Another young actress accepted an award I can't recall her name... when
accepting... part of her beige breast enhancement (maybe an enlargement pad)
was showing in her low V cut dress.  It wasn't showing just a little either.
She didn't correct her problem on stage like Meryl did.

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, 21 Jan 2003 17:15:54 EST
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--part1_95.28e69e87.2b5f209a_boundary
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In a message dated 1/21/03 11:17:49 AM Eastern Standard Time, 
cabbagerose@sbcglobal.net writes:

> The other thing I had a great deal of
> success with is a TENS unit. It is an electric stimulation device, and if
> worn while sewing, is actually like doing back excercises while you sit
> there.  


Well, I don't know if it's the same thing, or if it works the same way, but 
one of those silly electronic abs stimulators seems to help me with my back, 
when my back aches.  I don't know how much it actually does for weightloss or 
toning, but when I'm sewing I find that it helps.  Although...at 18, I really 
shouldn't be complaining about my back yet.  Ah well, back to sewing little 
embroidered rosettes onto this shawl I'm making to go with my in-progress 
dress.

Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/21/03 11:17:49 AM Eastern Standard Time, cabbagerose@sbcglobal.net writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">The other thing I had a great deal of<BR>
success with is a TENS unit. It is an electric stimulation device, and if<BR>
worn while sewing, is actually like doing back excercises while you sit<BR>
there.&nbsp; </BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
Well, I don't know if it's the same thing, or if it works the same way, but one of those silly electronic abs stimulators seems to help me with my back, when my back aches.&nbsp; I don't know how much it actually does for weightloss or toning, but when I'm sewing I find that it helps.&nbsp; Although...at 18, I really shouldn't be complaining about my back yet.&nbsp; Ah well, back to sewing little embroidered rosettes onto this shawl I'm making to go with my in-progress dress.<BR>
<BR>
Christine</FONT></HTML>

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Date: Tue, 21 Jan 2003 16:50:32 -0700
Status: RO

Lisa, I'm another Sue who'd love a copy, too!
--sue from montana with maybe some actual winter snow! hurrah!

Lisa Sinervo wrote:
> 
> Did you know there is a niffy little program called "snag a site" that will
> capture someone's web site for you so you can view it off line, links and
> all?  I occasionally use it when a site like Mark Carlson's one on shoes
> interests me enough to use off line.  Anyone want a copy?  I can send it to
> anyone in a zip file.  I believe it is a public domain program (pretty
> sure).  It's great for art sites.
> Lisa
>
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Subject: Re: [h-cost] Pinned on stomachers.
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Date: Tue, 21 Jan 2003 17:02:24 -0700
Status: RO

Uhm.....Where could an interested person get her own copy of them? <g>
--sue

kat@grendal.rain.com wrote:
> 
 
> Same here. (However, I spend *lots* of time with the H8 Inventories.)
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From h-costume-admin@indra.com  Tue Jan 21 19:03:49 2003
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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] saving web sites for later viewing
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Date: Tue, 21 Jan 2003 18:02:29 -0600
Status: RO

You can set your web browser to allow offline viewing too.

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Tuesday, January 21, 2003 5:51 PM
To: h-costume@indra.com
Subject: Re: [h-cost] saving web sites for later viewing


Lisa, I'm another Sue who'd love a copy, too!
--sue from montana with maybe some actual winter snow! hurrah!

Lisa Sinervo wrote:
>
> Did you know there is a niffy little program called "snag a site" that
will
> capture someone's web site for you so you can view it off line, links and
> all?  I occasionally use it when a site like Mark Carlson's one on shoes
> interests me enough to use off line.  Anyone want a copy?  I can send it
to
> anyone in a zip file.  I believe it is a public domain program (pretty
> sure).  It's great for art sites.
> Lisa
>
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Date: Tue, 21 Jan 2003 19:01:21 -0600
Status: RO

Would anyone going to CC21 in April be interested in getting together,
either at one of the panels or maybe lunch one day?  Also, what about
putting a large H on the name badges to identify one another??

Genie

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From h-costume-admin@indra.com  Tue Jan 21 20:03:47 2003
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Re: CC21
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Date: Tue, 21 Jan 2003 19:15:52 -0600 (CST)
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On Tue, 21 Jan 2003, Genie wrote:

> Would anyone going to CC21 in April be interested in getting together,
> either at one of the panels or maybe lunch one day?  Also, what about
> putting a large H on the name badges to identify one another??

Count me in.

--Robin

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From h-costume-admin@indra.com  Tue Jan 21 20:19:59 2003
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Date: Tue, 21 Jan 2003 19:12:49 -0600
Status: RO

Count me in on socializing! I have also requested that the facilities for
creating a red 'H' be available at registration. I'm not sure if that
will take the form of little red'H' stickers, or if there will simply be
a red pen at the table. 


Karen


On Tue, 21 Jan 2003 19:01:21 -0600 "Genie" <kerowyn@mindspring.com>
writes:
> Would anyone going to CC21 in April be interested in getting 
> together,
> either at one of the panels or maybe lunch one day?  Also, what 
> about
> putting a large H on the name badges to identify one another??
> 
> Genie
> 
> _______________________________________________
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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  Tue Jan 21 20:23:45 2003
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From: kat@grendal.rain.com
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Subject: Re: [h-cost] Pinned on stomachers.
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Date: Tue, 21 Jan 2003 17:24:20 -0800
Status: RO

Regarding _The Inventories of Henry VIII_:
> Uhm.....Where could an interested person get her own copy of them? <g>
> --sue

I got mine when it first came out (pre-ordered it in fact) from 
Amazon.uk

You'd have to contact them or the publisher to find out if it is 
still available.

Kat Russell
<kat@grendal.rain.com>

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From h-costume-admin@indra.com  Tue Jan 21 20:57:48 2003
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Date: Tue, 21 Jan 2003 18:58:00 -0700
Status: RO

Who's the publisher, though? Editors? I'd love to get a copy, but I'd
need all the normal info (including title <giggle>).
Thanks,
Sue

kat@grendal.rain.com wrote:
> 
> Regarding _The Inventories of Henry VIII_:
> > Uhm.....Where could an interested person get her own copy of them? <g>
> > --sue
> 
> I got mine when it first came out (pre-ordered it in fact) from
> Amazon.uk
> 
> You'd have to contact them or the publisher to find out if it is
> still available.
> 
> Kat Russell
> <kat@grendal.rain.com>
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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From h-costume-admin@indra.com  Tue Jan 21 21:35:04 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Backaches and illness
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Date: Tue, 21 Jan 2003 22:01:53 -0500
Status: RO

On Tuesday 21 January 2003 11:17 am, Cabbage Rose wrote:
[text cut here]

> I hope this isnt' redundant, I haven't been able to read the entire thread.
> My husband had a massive cerebral hemorrhage on Monday, and we've had a
> scary week.  The power of prayer is amazing though, as he has suffered
> absolutely no long term damage and absent any finding of aneurism this
> morning (I'm on my way to the hospital) he will be released to learn how to
> monitor his blood pressure.  It was 298/199 upon admittance to the ER.
>

[text cut here too]

My prayers go with both of you.


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: "Kendra Van Cleave" <kendrav@attbi.com>
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Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Tue, 21 Jan 2003 18:54:20 -0800
Status: RO

I did see the Meryl Streep boob readjustment move -- I loved that she was
totally unselfconscious about it!

Okay, did Salma Hayek look fabulous or what?  She just looked POURED into
that dress
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=268&a=0)!  I liked Cynthia Nixon's as well
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=227&a=0).  Sarah Jessica Parker looked great in her black satin corset
and pants
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=233&a=0).

Goldie Hawn
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=136&a=0) and Lara Flynn Boyle
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=217&a=0) get my vote for worst dressed.  I normally love Cate Blanchett,
but she looked pretty dorky
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
&e=30&a=0).

- Kendra

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From: "Cabbage Rose" <cabbagerose@sbcglobal.net>
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Subject: Re: [h-cost] Backaches and illness/OT
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Date: Tue, 21 Jan 2003 19:27:34 -0800
Status: RO

This is a multi-part message in MIME format.

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Yes, a TENS unit is the medical version of those "weight loss" gizmos.  =
I would NOT recommend using the ones they sell on TV however, as they =
are inferior and can cause burning to the skin, etc.  A medical unit =
runs about $100 or so, and is well worth it.

angela
(who's hubby is home and recuperating well, YAY!)
+++++
Angela F. Lazear
Cabbage Rose Costumes=20
http://www.cabbagerosecostumes.com

Theatrical Costume Design
"O! Swear not by the moon, the inconstant moon,=20
That monthly changes in her circled orb,
Lest that thy love prove likewise variable."
Romeo & Juliet, II, ii - W. Shakespeare


  -
  ---- Original Message -----=20
  From: IceGirlNIN@aol.com=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 21, 2003 2:15 PM
  Subject: Re: [h-cost] Backaches and illness


  In a message dated 1/21/03 11:17:49 AM Eastern Standard Time, =
cabbagerose@sbcglobal.net writes:


    The other thing I had a great deal of
    success with is a TENS unit. It is an electric stimulation device, =
and if
    worn while sewing, is actually like doing back excercises while you =
sit
    there. =20



  Well, I don't know if it's the same thing, or if it works the same =
way, but one of those silly electronic abs stimulators seems to help me =
with my back, when my back aches.  I don't know how much it actually =
does for weightloss or toning, but when I'm sewing I find that it helps. =
 Although...at 18, I really shouldn't be complaining about my back yet.  =
Ah well, back to sewing little embroidered rosettes onto this shawl I'm =
making to go with my in-progress dress.

  Christine 
------=_NextPart_000_00B3_01C2C183.25E55BE0
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1126" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DAvantGarde size=3D2>Yes, a TENS unit is the medical =
version of=20
those "weight loss" gizmos.&nbsp; I would NOT recommend using the ones =
they sell=20
on TV however, as they are inferior and can cause burning to the skin,=20
etc.&nbsp; A medical unit runs about $100 or so, and is well worth=20
it.</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>angela</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2>(who's hubby is home and =
recuperating well,=20
YAY!)</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2>+++++<BR>Angela F. =
Lazear<BR>Cabbage Rose=20
Costumes <BR><A=20
href=3D"http://www.cabbagerosecostumes.com">http://www.cabbagerosecostume=
s.com</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>Theatrical Costume Design<BR>"O! =
Swear not by=20
the moon, the inconstant moon, <BR>That monthly changes in her circled=20
orb,<BR>Lest that thy love prove likewise variable."<BR>Romeo &amp; =
Juliet, II,=20
ii - W. Shakespeare</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&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">-</DIV>
  <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=3DIceGirlNIN@aol.com=20
  href=3D"mailto:IceGirlNIN@aol.com">IceGirlNIN@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> Tuesday, January 21, 2003 =
2:15=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Backaches =
and=20
  illness</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D1=20
  FAMILY=3D"SANSSERIF">In a message dated 1/21/03 11:17:49 AM Eastern =
Standard=20
  Time, <A =
href=3D"mailto:cabbagerose@sbcglobal.net">cabbagerose@sbcglobal.net</A>=20
  writes:<BR><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  TYPE=3D"CITE"></FONT><FONT lang=3D0 style=3D"BACKGROUND-COLOR: =
#ffffff" face=3DArial=20
    color=3D#282828 size=3D2 FAMILY=3D"SANSSERIF">The other thing I had =
a great deal=20
    of<BR>success with is a TENS unit. It is an electric stimulation =
device, and=20
    if<BR>worn while sewing, is actually like doing back excercises =
while you=20
    sit<BR>there.&nbsp; </BLOCKQUOTE><BR></FONT><FONT lang=3D0=20
  style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D1=20
  FAMILY=3D"SANSSERIF"><BR><BR>Well, I don't know if it's the same =
thing, or if it=20
  works the same way, but one of those silly electronic abs stimulators =
seems to=20
  help me with my back, when my back aches.&nbsp; I don't know how much =
it=20
  actually does for weightloss or toning, but when I'm sewing I find =
that it=20
  helps.&nbsp; Although...at 18, I really shouldn't be complaining about =
my back=20
  yet.&nbsp; Ah well, back to sewing little embroidered rosettes onto =
this shawl=20
  I'm making to go with my in-progress dress.<BR><BR>Christine</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

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From h-costume-admin@indra.com  Tue Jan 21 22:35:52 2003
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Wed, 22 Jan 2003 14:35:54 +1100 (EST)
Status: RO

 --- Saragrace Knauf <saragrace@earthlink.net> wrote:
> I was wondering for those of you who had made and
> worn gowns where the
> cut of the gown is such that the shoulder piece is
> very small, almost
> non existent, or truly cut such that the sleeve is
> off the shoulder.  
>  
> Does the gown stay up because of the way the bodice
> is fit? Do the
> sleeves stay in place, or do they fall down a lot?

Mine (Venetian) stay put. I started using the Alcega
low cut bodice pattern - or at least my interpretation
of what I'm seeing in the book. :) I'm also
experimenting with the construction of the shoulder
straps themselves. 
  
> Does it drive you crazy?<snipped>

No, what drove me crazy, and still does sometimes, is
that I'm not used to having something sitting off my
shoulders, and despite the portraits showing this, and
the fact that the straps stay off my shoulder and
don't fall any further, I still keep trying to pull
them up! I'm getting better at not doing this though.
:)


> Oh and while poking around for examples, I came
> across this portrait
> which I had never seen before.
>  
> http://www.volny.cz/dodovaseq/renesance/rs33.jpg

That's a portrait by Gentile Bellini I think, of
Caterina Cornaro - a Venetian noblewoman who became
the Queen of Cyprus.



Bella


http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
To: h-costume@indra.com
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Date: Wed, 22 Jan 2003 14:39:29 +1100 (EST)
Status: RO

 --- Nancy Kiel <nancy_kiel@hotmail.com> wrote: >
Perhaps how the back of the neckline is cut makes a
> difference.  If it was 
> cut quite high, just below the shoulder line,
> wouldn't that make it stay up?


It might. But there are instances (my Venetians for
example) where a back cut almost as low as the very
low cut front was used.


Bella

http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: [h-cost] Inventories of Henry VIII (WAS: Pinned on stomachers).
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Date: Tue, 21 Jan 2003 20:20:55 -0800
Status: RO

At 6:58 PM -0700 1/21/03, Sue Clemenger wrote:
>Who's the publisher, though? Editors? I'd love to get a copy, but I'd
>need all the normal info (including title <giggle>).
>Thanks,
>Sue

_The Inventory of King Henry VIII: Volume I, The Transcript_
edited by David Starkey, transcribed by Philip Ward and indexed by 
Alasdair Hawkyard

Oxbow Books (http://www.oxbowbooks.com/) carries this in their 
British branch -- which means that if David Brown Books doesn't have 
it listed, they can order it for you. I believe Scholars' Bookshelf 
may also have it (http://www.scholarsbookshelf.com/).

Oxbow's website says "This vast catalogue of the possessions of the 
Henry VIII on his death in 1547 contains c.18,000 entries; these 
range from the Crown jewels to bandages for the kings ulcerated leg! 
The Inventory provides a huge amount of information for historians on 
the material success of Henry and his forebears, as well as being of 
practical help in identifying surviving objects as the king's or 
otherwise. The transcript is accompanied by a historical 
introduction, notes on the transcription and an exhaustive index. It 
will be followed in the future by Volumes II and III, which will 
contains essays on the contents of the inventory."

Boydell & Brewer is the publisher that now has the option on 
publishing the other volumes. I spoke with their representative at 
the medieval congress at Kalamazoo last year and they rolled their 
eyes and said, "We'd be HAPPY to publish the other two volumes if the 
author would GIVE them to us." So don't hold your breath.

539p (Harvey Miller/Society of Antiquaries 1998) ISBN 1872501893. Hardback.

<BRACE YOURSELF: PRICE SHOCK AHEAD! > (:P)

Price GB £150.00 (that's about $243 plus shipping -- ouch!)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Wed, 22 Jan 2003 00:41:24 -0500
Status: RO

Hi, All. I remember somewhat regarding the conversation about the tippets,
and, from the postings you have made, Stevie, I can see that you are
greatly immersed in the study of Medieval Fur use and wear. Not currently
having the access to the sources you are quoting (although I was very near
going to the U of Penn Library today on my lunch hour), could you possibly
quote the relevant passages again from the documentary sources that give
rise to your statement of the ubiquity of fur use in clothing for all
classes in the 14th and 15th Centuries? The reason that I am somewhat less
than credulous in this case is that the visual evidence that I have seen
does not appear to match up with the apparent documentary evidence. By
this, I mean to say that I haven't seen many pictures of soldiers and
lower class types wearing much in the way of fur, either in England or the
Continent. Regardless of the scholarship of the aforementioned authors,
which is apparently well done, the visual evidence I have seen (which, up
to this point, has been my primary source) does not bear out much use of
fur by soldiers and the classes from which soldiers spring. Please bear in
mind that I am not attempting to be argumentative, I am merely hesitant to
accept the broad statement made, and since you are much more well read in
this area than I, and since it was your comment that prompted my question,
I didn't think it harmful to ask further into the subject. If there is a
reason that the documentary evidence and the visual do not concur, please
allow us something in the way of an explanation, if that can be done.
Robin has noted on several occasions that the gap between visual and
reality can be explained by the symbolic message of the artwork. Is it
possible that something like this is the case? Thanks, Mike T.


> Hi,
> Mike T, Nicole ,
> Well, unsurprisingly enough, my observations are based on the same
> references I quoted in  my lengthy posts on the use of fur in the
> Middle Ages re Robin's tippets, back in November,

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Subject: Re: [h-cost] Inventories of Henry VIII (WAS: Pinned on stomachers).
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Date: Tue, 21 Jan 2003 23:08:24 -0700
Status: RO

*koff, koff*
*sputter*
I think I'll be saving my money a while for _that_ one!
Thanks for the info!
--sue

Chris Laning wrote:
> 
> At 6:58 PM -0700 1/21/03, Sue Clemenger wrote:
> >Who's the publisher, though? Editors? I'd love to get a copy, but I'd
> >need all the normal info (including title <giggle>).
> >Thanks,
> >Sue
> 
> _The Inventory of King Henry VIII: Volume I, The Transcript_
> edited by David Starkey, transcribed by Philip Ward and indexed by
> Alasdair Hawkyard
> 
> Oxbow Books (http://www.oxbowbooks.com/) carries this in their
> British branch -- which means that if David Brown Books doesn't have
> it listed, they can order it for you. I believe Scholars' Bookshelf
> may also have it (http://www.scholarsbookshelf.com/).
> 
> Oxbow's website says "This vast catalogue of the possessions of the
> Henry VIII on his death in 1547 contains c.18,000 entries; these
> range from the Crown jewels to bandages for the kings ulcerated leg!
> The Inventory provides a huge amount of information for historians on
> the material success of Henry and his forebears, as well as being of
> practical help in identifying surviving objects as the king's or
> otherwise. The transcript is accompanied by a historical
> introduction, notes on the transcription and an exhaustive index. It
> will be followed in the future by Volumes II and III, which will
> contains essays on the contents of the inventory."
> 
> Boydell & Brewer is the publisher that now has the option on
> publishing the other volumes. I spoke with their representative at
> the medieval congress at Kalamazoo last year and they rolled their
> eyes and said, "We'd be HAPPY to publish the other two volumes if the
> author would GIVE them to us." So don't hold your breath.
> 
> 539p (Harvey Miller/Society of Antiquaries 1998) ISBN 1872501893. Hardback.
> 
> <BRACE YOURSELF: PRICE SHOCK AHEAD! > (:P)
> 
> Price GB £150.00 (that's about $243 plus shipping -- ouch!)
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Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Wed, 22 Jan 2003 07:28:01 -0000
Status: RO

>By
this, I mean to say that I haven't seen many pictures of soldiers and
lower class types wearing much in the way of fur, either in England or the
Continent.

I tend to think if you were doing much in the way of physical activity esp
in England, you would be far too hot in anykind of fur, much colder
countries, I would imagine, use fur far more. But even with the climatic
differances(between times)a lot of fur in relativly warm climates would seem
uncomfortable.

OTOH bear in mind some wool clothes would seem to have quite a pile on them
in the period (for instance the trimming done by specilists as a method of
cleaning) which would give good insulation without the weight and bulk of
fur, another down side to fur wearing & activity.

The move from hairy fleeces to wooled fleeces (in sheep) over the textile
period would also back looking to increased warmth through selective
breeding, perhaps ? I'm not aware of any studies in the thermal properties
over time from wool types, it could be a interesting study.

I would mention , however, that our belief that they needed to keep warm by
many layers etc I believe is overstated due to our cultural bias rooted in
centrally heated houses and little daily exposure to the elements. Most
people I know regularly out in all weathers feel the cold far less and wear
less layers, your body adapts.

It is possible the fur wearing elite wore furs because they tended to be
more inactive and in a consistant temprature more often ?

Rain is far more likely to strip one of body heat than the type of cold we
get in England.

Mel

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Subject: Re: [h-cost] Late Middle Ages  'companies'
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Date: Wed, 22 Jan 2003 08:12:11 +0000 (GMT)
Status: RO

 --- Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote: > >

> I would mention , however, that our belief that they needed to keep warm by
> many layers etc I believe is overstated due to our cultural bias rooted in
> centrally heated houses and little daily exposure to the elements. Most
> people I know regularly out in all weathers feel the cold far less and wear
> less layers, your body adapts.

I'd like to support this thesis with personal experience: A) I love it when
there are a few dry ice cold days in England, I bloom and bounce about happily,
never being cold, because this is the kind of cold I am used to, coming from
the continent, and can keep easily warm, while my fellow inmates (ooops,
inhabitants of England :-) are freezing, but have no problems with the dreaded
damp coolness that I can't bear. B) When I came into this country into our
sweet little 1711 house with no central heating but proper fire places, I was
freezing my bum off, I could never get my room warm enough, even with the extra
electric radiator. Now, after 3 years I find it far too awfully drying-out hot
anywhere in the houses and flats I go to in Germany, while I have no problems
anymore in my room in England. Simple adaptation I'd say.

Nicole

=====
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URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's  Italian Dress
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Date: Wed, 22 Jan 2003 08:20:54 +0000 (GMT)
Status: RO

 --- Claire Clarke <Lady_Angharad@bigpond.com> wrote: > 

> The off the shoulder dress was a 1660's style, which was designed to be
> off
> the shoulder. The shoulder straps cover the top 5cm or so of the arm.
> This does
> make it difficult to move my shoulders (ie I have a fairly restricted
> arm movement)
> which is a bit annoying, but the straps don't fall down, mainly I think,
> because the
> bodice is boned within an inch of its life.

The samegoes for my 1660s dress and everyone else's in the group. The trick
isnot in the straps at all, they need no tension, at least in ths period,
because the bodices were fully boned, which means there is no way anything can
move on the body at all, not up, not down, not sideways, nothing, it is like a
Victorian corset in a way, if that makes sense. The green dress that you showed
us looks as if its bodice was boned too.
We re-creaters are not the only ones with the problem of not being able to move
the arms very much. That's the whole point, one wasn't. This is why I have yet
to see a representation of a woman who does any kind of physical work, wearing
an off-the-shoulder bodice in the 1650s, 60s and 70s. I am currently
researching/writing on the gender implications rearding those gowns. All will
be revealed in appr. 5 years time. *laughs*

Nicole

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Email: nicole@kipar.org

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From h-costume-admin@indra.com  Wed Jan 22 04:17:09 2003
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Date: Wed, 22 Jan 2003 01:37:18 -0800 (PST)
Status: RO

"Cabbage Rose" <cabbagerose@sbcglobal.net> wrote:
[...]
> and I wouldn't recommend a fancy chair, just a good one
> with an adjustable back support. 

Or simply a straight, high back.  Then you add your own lumbar support such:
Buy one of those open-cell foam pillow forms that's cylinder shaped.  Use an
electric carving knife to slice it lengthwise down the middle (you now should
have two D-shaped sections).  Cover those with any old fabric.  Get a piece of
elastic that's at least 3/4" wide and long enough to go around the back of the
chair and attach to the ends of your new lumbar support.  Attach the elastic
by either sewing or safety pins (that's what I did, it's easier to adjust if
you get a different chair later).  Sit in the chair and move your new support
up and down til it hits the correct spot for _your_ back.  At this point, I 
pinned the elastic to the sides of the chair to keep it in the right spot.

Cheap, and you get two new back supports for the cost of one pillow form.
You'll still need to sit up straght, which is why you should consider either
raising the height of your machine or lowering the height of your chair.  It'll
feel odd because we're all used to being high up above our work surfaces.  
However, it means you don't have to bend or slouch to see your work.  I've
done this with both my sewing and computer work areas, and I'm no longer 
getting those nasty tingling feelings in my legs and feet from pinched nerves.
Oh, and make sure your feet rest flat on the floor.  I'm very short, and _that_
has also caused me problems.

> I hope this isnt' redundant, I haven't been able to read the entire thread.
> My husband had a massive cerebral hemorrhage on Monday, and we've had a
> scary week.  The power of prayer is amazing though, as he has suffered
> absolutely no long term damage and absent any finding of aneurism this
> morning (I'm on my way to the hospital) he will be released to learn how to
> monitor his blood pressure.  It was 298/199 upon admittance to the ER.

Yeowch.  Make sure your husband gets a battery of cognitive tests done.  When
I had a cerebral hemorrhage, the damage was very subtle.  I didn't really 
notice it until I realized I was reading much slower than was normal for me.
Then I tried reading sheet music (something I never did much anyway) and 
realized it was all gobblety-gook.  It's taken several years and some 
retraining for me to be able to read music or handle higher maths.  But it
was several weeks after the event that I really noticed that there was lasting
damage.  I hope your husband got off without _any_.

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] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 01:25:37 -0800
Status: RO

I know this isn't "historically oriented" in toto, but my insulin pump 
arrives tomorrow and I'm getting a new lease on life.  I need to know how 
the device may impact my ability to wear certain eras, or if anyone else has 
one and tips on how to deal with it.  Modern clothing is no problem because 
there are so many styles to choose from, but I will have a pager sized 
device attached to my midsection from now on and I may have to rethink my 
fashions.  I know I'm not the only diabetic costumer around.  Any advice?



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: Wed, 22 Jan 2003 01:13:29 -0800
Status: RO


>Count me in on socializing! I have also requested that the facilities for
>creating a red 'H' be available at registration. I'm not sure if that
>will take the form of little red'H' stickers, or if there will simply be
>a red pen at the table.

Lower case 'h', as in [h-cost].


Kayta

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Subject: [h-cost] Mens Trousers
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Date: Wed, 22 Jan 2003 21:50:57 +1100
Status: RO

Can anyone tell me where to find a pattern for high-waisted men's trousers
in a Victorian/Edwardian style?

Thanks
Karen
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Mens Trousers
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Date: Wed, 22 Jan 2003 04:34:10 -0800
Status: RO


>Can anyone tell me where to find a pattern for high-waisted men's trousers
>in a Victorian/Edwardian style?

I found some in the Wisconsin Historical Society pattern for a men's sack suit.


Kayta

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 04:33:07 -0800
Status: RO


>I know this isn't "historically oriented" in toto, but my insulin pump 
>arrives tomorrow and I'm getting a new lease on life.  I need to know how 
>the device may impact my ability to wear certain eras, or if anyone else 
>has one and tips on how to deal with it.  Modern clothing is no problem 
>because there are so many styles to choose from, but I will have a pager 
>sized device attached to my midsection from now on and I may have to 
>rethink my fashions.  I know I'm not the only diabetic costumer 
>around.  Any advice?

Every period has some loose-fitting garments, even if they are thought of 
as 'maternity' garments.  The 1860s had the paletot.  The 1940s-50s had the 
swing coat. the 1950s-60s had the trapeze dress.  The 1890s had the box 
coat.  I don't know what the 1880s had, but a dolman wrap ought to work 
nicely.  I can't think of any others offhand, but a little research should 
turn up something for any period you do.


Kayta

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From h-costume-admin@indra.com  Wed Jan 22 08:02:50 2003
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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 05:00:26 -0800
Status: RO

The only problem that I see is where you are going to put the pump.  Most
people put it in their pocket or wear a side pouch to put it in./  The pump
is connected to you by very small tubing that is about 3 feet long with a
very small needle on one end that sets almost flat against the abdomen. when
inserted correctly  A corset would be an advantage to help prevent
accidentally pull the tubing apart. Ps don't go swimming with the pump on
they haven't come up with a water proof one yet. It is very easy to turn the
pump off and disconnect it for short periods. Debbie
----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 4:33 AM
Subject: Re: [h-cost] corset/costume wearing question


>
> >I know this isn't "historically oriented" in toto, but my insulin pump
> >arrives tomorrow and I'm getting a new lease on life.  I need to know how
> >the device may impact my ability to wear certain eras, or if anyone else
> >has one and tips on how to deal with it.  Modern clothing is no problem
> >because there are so many styles to choose from, but I will have a pager
> >sized device attached to my midsection from now on and I may have to
> >rethink my fashions.  I know I'm not the only diabetic costumer
> >around.  Any advice?
>
> Every period has some loose-fitting garments, even if they are thought of
> as 'maternity' garments.  The 1860s had the paletot.  The 1940s-50s had
the
> swing coat. the 1950s-60s had the trapeze dress.  The 1890s had the box
> coat.  I don't know what the 1880s had, but a dolman wrap ought to work
> nicely.  I can't think of any others offhand, but a little research should
> turn up something for any period you do.
>
>
> Kayta
>
>     //// \\\
>    ////-@@\\\
>   ((((   7 )))
>    (((  <> ))))
>       )   ((((((
> /----\   /---\))
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: "Kim Baird" <kbaird@cableone.net>
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Subject: RE: [h-cost] Mens Trousers
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Date: Wed, 22 Jan 2003 07:07:43 -0600
Status: RO

Laughing Moon's California Pants is a great pattern, all sizes included.

Kim

http://www.lafnmoon.com/order.htm


-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of Karen Root
Sent: Wednesday, January 22, 2003 4:51 AM
To: h-costume@indra.com
Subject: [h-cost] Mens Trousers

Can anyone tell me where to find a pattern for high-waisted men's
trousers
in a Victorian/Edwardian style?

Thanks
Karen
-----
www.members.optusnet.com.au/smonster/

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From h-costume-admin@indra.com  Wed Jan 22 08:18:51 2003
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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume <h-costume@indra.com>
Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Wed, 22 Jan 2003 08:18:23 -0500 (EST)
Status: RO

Didn't watch them... but that's too funny!  Maybe the elegant Ms. Streep
is just so used to being on camera that she wasn't thinking about it?
(Kinda like scratching your nose...)

-- Mara

On Tue, 21 Jan 2003, Penny Ladnier wrote:
> Meryl Steep when accepting her award when she first was on stage... people
> were applauding... Meryl was not showing much cleavage on her low cut dress.
> She reached her hand in the left side bodice of the dress and moved her
> breast forward.  THEN did the same thing with the other breast.  DID she not
> think the cameras were on her!!!!!!!!! She was standing at a mic on stage!!!
> Well she did have cleavage after that.  I laughed myself silly when I saw
> her do this.

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Subject: Re: [h-cost] Mens Trousers
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Date: Wed, 22 Jan 2003 08:20:58 -0500 (EST)
Status: RO

On Wed, 22 Jan 2003, Karen Root wrote:

>Can anyone tell me where to find a pattern for high-waisted men's trousers
>in a Victorian/Edwardian style?

Past Patterns has a pair of mid-19th century trousers:
#014: Classic Plain-Cut Summer Trousers


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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From h-costume-admin@indra.com  Wed Jan 22 08:32:46 2003
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Followup on fur use by living history groups
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Date: Wed, 22 Jan 2003 07:44:11 -0600 (CST)
Status: RO


I happened to be talking with Liz Johnson, one of the heads of La Belle
Compagnie, and I asked her about the lack of fur in their group. She wrote
back the following, and gave me permission to pass it on to this list.
(Some of you may remember Liz; she's been on this list before, but is not
right now.) Her reply:

<<
Your correspondent is absolutely right about the absence of fur.  We're
unhappy about it too, but face two issues.  First, we absolutely won't use
fake fur, as it doesn't fool anyone at the distances where we work with
the public; and investing in the real stuff has had to take a back seat to
other things. Second, we don't have anyone who knows much about working
with real fur, and don't feel we've done enough research to know how best
to use it -- in terms of what modern furs to use, how to maintain social
distinctions, and even where/when/how it would most "typically" be used.  
So we're constrained by one of our fundamental rules, "right or not at
all" -- till we know how to use *real* fur correctly, we're not going to
use it half-baked.  Not all garments were furred, so it's not *wrong* to
have garments without -- but in terms of overall presentation, she's
right, it's wrong to have no fur anywhere.  It's one of the many, many
things we want to improve ;-)

If anyone wants to get into an offline discussion of whether, when, where,
and how -- I'd be delighted.  I can only learn!
>>

And yes, Stevie, I passed her your two book citations, and she sends
her thanks.

--Robin

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From h-costume-admin@indra.com  Wed Jan 22 09:32:32 2003
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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: <h-costume@indra.com>, "LIST 75" <75years@egroups.com>
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Subject: [h-cost] More Fur Refs
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Date: Wed, 22 Jan 2003 14:31:24 -0000
Status: RO

For those wishing to look deeper into fur, I found these fur refs, which are
fairly recent. I've not read them so cannot vouch for any of them or give
greater detail sorry. I've also included a list I have of Sumptuary law
refs, which I missed of I think last time I posted some

Mel

Sumptuary Laws:

Maria A. Ceppari Ridolfi and Patrizia Turrini, _Il Mulino delle vanita`:
lusso e cerimonie nella Siena medievale, con l'edizione dello Statuto del
Donnaio (1343)_  Siena, c1993

Baldwin, Frances Elizabeth.  _Sumptuary Legislation and Personal Regulation
        in England_.  John Hopkins Univ. Studies in Historical and Political
        Science, 44th ser., No. 1.  Baltimore: The Johns Hopkins P, 1926.

_The Statutes of the Realm_.  Vol. 1.  London: Dawsons of Pall Mall, 1910;
        rpt. 1963.  For 1363 Sumptuary Laws, see pp. 380-82.

Diane Owen Hughes, "Sumptuary Law and Social Relations in
Renaissance Italy" in John Bossy,ed.  _Disputes and Settlements:  Law and
Human Relations in the West_.  Cambridge, 1983.

Fur and the Fur Trade:

   Hodges, Laura F.  "A Reconsideration of the Monk's Costume."  _Chaucer
        Review_. 26.2 (1991): 133-46.

Robert Delort, Le commerce des fourrures en Occident a la fin du moyen age:
vers 1300-vers 1450.  2 vols.  Rome:  Ecole francaise de Rome, 1978

Janet Martin, Treasure of the Land of Darkness: the Fur Trade and its
significance for Medieval Russia, New York: Cambridge, 1987

Stella Mary Newton, Fashion in the Age of the Black Prince: A Study of the
Years, 1340-1365

Textiles, furs and liveries: a study of the material culture of the Court of
Edward I (1272-1307).
Lachaud, F., 1992, A9d
D.Phil., Oxford, 42-0246

England and the continent in the tenth and early eleventh century.
Shepherd, M.A., 1994, A9g
Ph.D., Lancaster, 45-9096

Part 3 deals with trade in comestibles, raw materials, artefacts, slaves and
a variety of luxury goods such as silk, spices and furs.

'Pelze, Rauchwaren' (=fur) in the
"Lexikon des Mittelalters", 1994, Bd. VI, S. 1866-1868. It gives also a good
bibliographie of recent german publications on this subject

This e-mail, and any attachment, is confidential. If you have received
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From h-costume-admin@indra.com  Wed Jan 22 09:39:11 2003
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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's  Italian Dress
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Date: Wed, 22 Jan 2003 09:41:01 -0500
Status: RO

Please excuse my bumbling computer skills, Kathleen here chiming in on the
subject-observations.                            I find the same
construction in the mid-19th Century.  I have two bodices from the 1850s in
which the construction is such that the wearer can only lift arms high
enough to assume a dance position.  Otherwise, my daughter who has modeled
one reports that it wears akin to a strait jacket.  Definitely not 'work'
clothes.                         If you have observed or used any of the
patterns of the1950s,for gowns or dressy dresses, .  the cut and
construction techniques insure that the gown will be off the shoulder and
stay where it  is intended. As has been suggested, there is a narrowing of
the back in general and the rest of the bodice will be unforgivably fitted.
Kathleen
----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 3:20 AM
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's
Italian Dress


> --- Claire Clarke <Lady_Angharad@bigpond.com> wrote: >
>
> > The off the shoulder dress was a 1660's style, which was designed to be
> > off
> > the shoulder. The shoulder straps cover the top 5cm or so of the arm.
> > This does
> > make it difficult to move my shoulders (ie I have a fairly restricted
> > arm movement)
> > which is a bit annoying, but the straps don't fall down, mainly I think,
> > because the
> > bodice is boned within an inch of its life.
>
> The samegoes for my 1660s dress and everyone else's in the group. The
trick
> isnot in the straps at all, they need no tension, at least in ths period,
> because the bodices were fully boned, which means there is no way anything
can
> move on the body at all, not up, not down, not sideways, nothing, it is
like a
> Victorian corset in a way, if that makes sense. The green dress that you
showed
> us looks as if its bodice was boned too.
> We re-creaters are not the only ones with the problem of not being able to
move
> the arms very much. That's the whole point, one wasn't. This is why I have
yet
> to see a representation of a woman who does any kind of physical work,
wearing
> an off-the-shoulder bodice in the 1650s, 60s and 70s. I am currently
> researching/writing on the gender implications rearding those gowns. All
will
> be revealed in appr. 5 years time. *laughs*
>
> Nicole
>
> =====
> Nicole Kipar M.A.
> URL: http://www.kipar.org/
> Email: nicole@kipar.org
>
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From h-costume-admin@indra.com  Wed Jan 22 09:55:24 2003
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 09:54:20 -0500 (EST)
Status: RO

When I was recovering from surgery a bit more than a year ago I had some
awful drainage thingies that were always difficult to pin properly to the
hospital gowns in the right position.  When I got out of the hospital, I
saw a sort of elastic belt with pockets meant for just such a problem, but
by then I didn't need them any more.

But I imagine that if the lines were long enough, an insulin pump could be
held in a belt pouch worn at, say, hip level; that might take it down
below the waistline...  And it could be made of pretty materials (even
though nobody would ever need to see it), just for fun, too.  I don't know
if the pump has to be worn at waist level, or not, but it's an idea...

-- Mara

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From h-costume-admin@indra.com  Wed Jan 22 10:22:17 2003
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From: "Five Rivers" <info@5rivers.org>
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Subject: [h-cost] Re: Mens Trousers
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Date: Wed, 22 Jan 2003 10:22:47 -0500
Status: RO

    There is a terrific pattern available on our website by Laughing Moon,
called California Pants. Now, don't be put off by the name, as these
trousers are in fact historically accurate for mid to late Victorian, high
waisted, with a huge sizing range and fitting options for portly men and for
ladies as well.

    There's also the Classic Cut Trousers by Past Patterns, which we also
carry. It comes in two sizing arrays and is suitable for mid to late
Victorian.

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org


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From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 07:33:30 -0800
Status: RO

can't you just make a little purse/pouch that hangs from around your 
waist?  Margo's accessory pattern has one that I think would be great.  you 
could coordinate it with your costume.
good luck on this.  I hope it helps.  maryann

At 01:25 AM 1/22/2003 -0800, you wrote:
>I know this isn't "historically oriented" in toto, but my insulin pump 
>arrives tomorrow and I'm getting a new lease on life.  I need to know how 
>the device may impact my ability to wear certain eras, or if anyone else 
>has one and tips on how to deal with it.  Modern clothing is no problem 
>because there are so many styles to choose from, but I will have a pager 
>sized device attached to my midsection from now on and I may have to 
>rethink my fashions.  I know I'm not the only diabetic costumer 
>around.  Any advice?
>
>
>
>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] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 08:05:25 -0800
Status: RO

Only it you could get easy access to it, because to have to program a bolus
dose of insulin just before you eat a meal or smack{within 5 mins.}  Debbie
----- Original Message -----
From: "Kevin & Mara Riley" <lindo@Radix.Net>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 6:54 AM
Subject: Re: [h-cost] corset/costume wearing question


> When I was recovering from surgery a bit more than a year ago I had some
> awful drainage thingies that were always difficult to pin properly to the
> hospital gowns in the right position.  When I got out of the hospital, I
> saw a sort of elastic belt with pockets meant for just such a problem, but
> by then I didn't need them any more.
>
> But I imagine that if the lines were long enough, an insulin pump could be
> held in a belt pouch worn at, say, hip level; that might take it down
> below the waistline...  And it could be made of pretty materials (even
> though nobody would ever need to see it), just for fun, too.  I don't know
> if the pump has to be worn at waist level, or not, but it's an idea...
>
> -- Mara
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Date: Wed, 22 Jan 2003 08:10:59 -0800
Status: RO

The title is _The Inventory of King Henry VIII: the transcript_. It's 
edited by David Starkey. It's published by Harvey Miller Publishers 
for The Society of Antiquaries of London. ISBN 1-872501-89-3. I hope 
that helps. ;)
Kat

> Who's the publisher, though? Editors? I'd love to get a copy, but I'd
> need all the normal info (including title <giggle>). Thanks, Sue
> 
> kat@grendal.rain.com wrote:
> > 
> > Regarding _The Inventories of Henry VIII_:
> > > Uhm.....Where could an interested person get her own copy of them?
> > > <g> --sue
> > 
> > I got mine when it first came out (pre-ordered it in fact) from
> > Amazon.uk
> > 
> > You'd have to contact them or the publisher to find out if it is
> > still available.
> > 
> > Kat Russell
> > <kat@grendal.rain.com>
> > 
> > _______________________________________________
> > h-costume mailing list
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Date: Wed, 22 Jan 2003 10:19:15 -0600
Status: RO

I have created several costumes for people that wore the pump at our local fair.  We 
created a spandex pocket that velcro'ed shut, and using the really wide velcro, we covered 
the back of the pocket with the sticky velcro, and then in several places on the underside 
of the article we sewed in the soft velcro so it could be moved as needed.  We also 
included velcro loops where you could gather up the extra tubing and have that attached as 
well so there was less chance of it coming loose.  You can be pretty creative where you 
hide it.  For Elizabethan we put the pump in the back attached to the lower edge of her 
corset.  It rode right under all her cartridge pleats and did just fine.

Just make sure that you use the large velcro.
-- 
Linda Thompson

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

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Subject: [h-cost] Philadelphia things to see?
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Date: Tue, 21 Jan 2003 21:23:54 -0800
Status: RO

I'm going to be in Philadelphia for 5 days at the end of this week, and I'm
wondering if anyone has any advice on costume-related things to see?  I know
that the Philadelphia Museum of Art has a costume collection, but I can't
tell from their website whether they regularly exhibit anything -- does
anyone know?

- Kendra

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From h-costume-admin@indra.com  Wed Jan 22 11:32:42 2003
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Subject: Re: [h-cost] Philadelphia things to see?
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Date: Wed, 22 Jan 2003 11:31:26 -0500 (EST)
Status: RO

How funny, I'm going to be in Philly this weekend too.  :)  Seeing
friends, so I doubt I'll have much time to go museuming, but I'd love to
know what costume-related exhibits are in town, too.

Thanks,

Drea


On Tue, 21 Jan 2003, Kendra Van Cleave wrote:

> I'm going to be in Philadelphia for 5 days at the end of this week, and I'm
> wondering if anyone has any advice on costume-related things to see?  I know
> that the Philadelphia Museum of Art has a costume collection, but I can't
> tell from their website whether they regularly exhibit anything -- does
> anyone know?
>
> - Kendra
>
> _______________________________________________
> 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 Jan 22 11:48:51 2003
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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Wed, 22 Jan 2003 11:47:57 -0500
Status: RO

First, congratulations on the new lease on life!

Hmm... about the size of a pager... this sound very like a mic pac. 
Theatrical costumers? I've never had to put one under a corset...

Now, I don't know anything about the pump. Does it have to stay in a 
certain place? If not, location can help. (I know the needle stays 
put...) I've put mics in the small of the back - you can sometimes get 
away with a lot, there. And I've seen them tucked into hip pads. A close 
fitting undergarment is best, actually, because it doesn't slide around 
- try sewing a pocket in where you want it. Will you have to fit a 
corset over it, or can you slip a tube through an opening? Perhaps pad a 
little around it - you might prefer a "generous" look to a "bumpy" 
one... *S* and that might be more comfortable.

If I'm on the wrong track, sorry... but if this helps, I'm sure we have 
people who've mic'd more shows than I have, and can help more.  Most of 
my venues have been small.

Good luck with it!

Anne



Jennifer Sena wrote:
> I know this isn't "historically oriented" in toto, but my insulin pump 
> arrives tomorrow and I'm getting a new lease on life.  I need to know 
> how the device may impact my ability to wear certain eras, or if anyone 
> else has one and tips on how to deal with it.  Modern clothing is no 
> problem because there are so many styles to choose from, but I will have 
> a pager sized device attached to my midsection from now on and I may 
> have to rethink my fashions.  I know I'm not the only diabetic costumer 
> around.  Any advice?
> 
> 
> 
> Jennifer Sena
> Distant Designs
> http://home.teleport.com/~cedric/distdesi
> 
> I wont hurt you, I just want to dress you up!!
> 
> 
> 
> 
> 

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From h-costume-admin@indra.com  Wed Jan 22 14:41:52 2003
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] re: Philadelphia things to see?
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Date: Wed, 22 Jan 2003 11:40:36 -0800 (PST)
Status: RO

Kendra wrote:
I know
that the Philadelphia Museum of Art has a costume
collection, but I can't
tell from their website whether they regularly exhibit
anything -- does
anyone know?

Unfortunately, Kendra, most of that collection is
hardly ever on display, including right now. I was
there last weekend with some re-enactor friends and we
had to content ourselves with their reasonably good
arms and armour collection, as well as their
interesting Medieval art and crafts collection (a
number of complete rooms transplanted from Europe to
the museum -- gorgeous woodworking).

If you have a taste for 19th century art, however, I'd
recommend you make a reservation to see the Barnes
Foundation collection. It's one of the world's largest
collections of Impressionism, and there's a sprinkling
of other noteworthies in there too, like Picasso. 

Here's the link: http://www.barnesfoundation.org/

-Tasha

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Date: Wed, 22 Jan 2003 14:59:23 EST
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--part1_50.16f74928.2b60521b_boundary
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Sorry about the blank message I just sent--hit the wrong button!

If you are interested in early 19th century apparel, I suggest you visit the 
Pennsylvania Academy of Fine Arts, which has John Lewis Krimmel's "View of 
Centre Square on the 4th of July."  It is one of my very favorite paintings 
for looking at how urban Americans really dressed in the early 19th century.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Sorry about the blank message I just sent--hit the wrong button!<BR>
<BR>
If you are interested in early 19th century apparel, I suggest you visit the Pennsylvania Academy of Fine Arts, which has John Lewis Krimmel's "View of Centre Square on the 4th of July."&nbsp; It is one of my very favorite paintings for looking at how urban Americans really dressed in the early 19th century.<BR>
Ann Wass</FONT></HTML>

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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] Re: CC21
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Date: Wed, 22 Jan 2003 12:57:19 -0800 (PST)
Status: RO



Katya wrote: 
> Lower case 'h', as in [h-cost].



After all, a red "H" might get you confused for a
hologram, even if it is nowhere near your forehead!

Angharat

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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's 
 Italian Dress
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Date: Thu, 23 Jan 2003 08:15:16 -0800
Status: RO



Bella wrote:

>  --- Saragrace Knauf <saragrace@earthlink.net> wrote:
> > I was wondering for those of you who had made and
> > worn gowns where the
> > cut of the gown is such that the shoulder piece is
> > very small, almost
> > non existent, or truly cut such that the sleeve is
> > off the shoulder.
> >
> > Does the gown stay up because of the way the bodice
> > is fit? Do the
> > sleeves stay in place, or do they fall down a lot?
>
> Mine (Venetian) stay put. I started using the Alcega
> low cut bodice pattern - or at least my interpretation
> of what I'm seeing in the book. :) I'm also
> experimenting with the construction of the shoulder
> straps themselves.
>

Hmmm, that makes sense. The straps on Alcega's bodices are
angled in towards the neck, so if you pull them right out in the
opposite direction that creates tension in the straps. I've always
been meaning to experiment with this pattern and I never think of
it when I'm making mockups...

Claire

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From: <r.carnegie@verizon.net>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Re: Mens Trousers
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Date: Wed, 22 Jan 2003 16:24:17 -0500
Status: RO


> 
> From: "Five Rivers" <info@5rivers.org>
> Date: 2003/01/22 Wed AM 10:22:47 EST
> To: <h-costume@indra.com>
> Subject: [h-cost] Re: Mens Trousers
> 
>     There is a terrific pattern available on our website by Laughing Moon,
> called California Pants. Now, don't be put off by the name, as these
> trousers are in fact historically accurate for mid to late Victorian, high
> waisted, with a huge sizing range and fitting options for portly men and for
> ladies as well.
> 
>     There's also the Classic Cut Trousers by Past Patterns, which we also
> carry. It comes in two sizing arrays and is suitable for mid to late
> Victorian.
> 
> Regards
> Lorina

   In nineteenth century America,  California was often a provider of fine quality materials.  Cowboys used a number of items of which some of the best (or fanciest were referred to as "Californian".  High on this list were Trousers (see above) and spurs.  I suspect that the designer of this pattern knows this, and that this pattern was geared towards the cowboy shooting crowd (I am a member). I can document examples at home if anyone is really interested. A notable exception to this is california holsters.  This is not a determination of quality, but of any early style appearing first in the gold fields, now usually called a slim jim.

Cheers,

R.Carnegie@verizon.net
"Argue for your limitations, and they are yours."
             R. Bach

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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Thu, 23 Jan 2003 09:35:36 +1100
Status: RO

> Only it you could get easy access to it, because to have to program a
bolus
> dose of insulin just before you eat a meal or smack{within 5 mins.}
Debbie

Surely she shouldn't be doing Smack if she's diabetic..  :-)

Sorry couldn't resist pointing out the Freudian typo.

Karen
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Subject: [h-cost] Re:] corset/costume funny
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Date: Wed, 22 Jan 2003 14:45:25 -0800
Status: RO

Thank you so much!!!  I'm burrowing my way through all the info that arrived 
with it this afternoon and that was just the bit of levity I needed.  :)



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

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


just before you eat a meal or smack{within 5 mins.}
>Debbie
>
>Surely she shouldn't be doing Smack if she's diabetic..  :-)
>
>Sorry couldn't resist pointing out the Freudian typo.
>
>Karen
>-----


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From h-costume-admin@indra.com  Wed Jan 22 17:57:32 2003
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Date: Tue, 21 Jan 2003 20:02:09 -0500
Status: RO

Well, as a temporary solution until you find a good ergonomic position for 
your sewing machine -- when I sew, I have been known to put my Laughing 
Moon corset on over my usual t-shirt and jeans, which looks weird but 
works.  The metal busk in front keeps me from slouching forward too 
much.  I don't know if you can take any sort of pressure on your back due 
to the disk problems, though...  Clotilde sells back braces for sewers, 
too, so same idea, different execution.

-- Mara

At 06:09 PM 1/20/2003 -0500, you wrote:
>I am looking for suggestions... a friend and I have both had surgeries on
>disks in our backs.  When we sit behind the sewing machines... in 15-30 min.
>our back is hurting.  (snip)

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Subject: Re: [h-cost] Re:] corset/costume funny
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Date: Wed, 22 Jan 2003 23:19:07 -0000
Status: RO

I'm not sure I can manage levity, but I wish you every luck with the
gadget, as well as the instructions:-)
If it's the size of the one I sometimes use for asthma medication,
then it is a little bigger than a mic pack, which tends to mess up the
small of the back location.  But I've made a variety of hiding places
for syringe drivers for friends, including actors, and you should be
able to adapt costumes for most periods without too much difficulty.
You will need some rigidity in the container, since squashing the
gadget and its attachments is not a good idea. Give me a shout if you
hit a particular problem since I may have come across it before...
best wishes
Stevie

----- Original Message -----
From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 10:45 PM
Subject: [h-cost] Re:] corset/costume funny


> Thank you so much!!!  I'm burrowing my way through all the info that
arrived
> with it this afternoon and that was just the bit of levity I needed.
:)
>
>
>
> Jennifer Sena
> Distant Designs
> http://home.teleport.com/~cedric/distdesi
>
> I wont hurt you, I just want to dress you up!!
>
>
> just before you eat a meal or smack{within 5 mins.}
> >Debbie
> >
> >Surely she shouldn't be doing Smack if she's diabetic..  :-)
> >
> >Sorry couldn't resist pointing out the Freudian typo.
> >
> >Karen
> >-----
>
>
> _________________________________________________________________
> MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*.
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From h-costume-admin@indra.com  Wed Jan 22 19:39:00 2003
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Date: Wed, 22 Jan 2003 19:38:18 -0500
Status: RO

Hi, all,

I'm planning to be at the convention & will put the 'h' on & all.

My experience at these conventions is that it is frequently easiest to meet for
breakfast.

There is always so much going on later in the day, from lectures, hands-on
classes, rehearsals, to the shows.


Also, try try try to get your costumes done ahead of time.

I have sewn an outfit during the weekend of a CC, & it was exceptionally tough.
I didn't have time to breathe, or to dance, sniff.
I was doing other things besides the sewing, too.

On the other hand, my little group got "Best Bathing Suit" in the bathing suit
contest (a one-time contest) at CC18.  (showing that my priorities skew with the
best of them.)
: )


Ann in CT


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Insulin pump
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Date: Wed, 22 Jan 2003 16:14:20 -0800
Status: RO


>I have created several costumes for people that wore the pump at our local 
>fair.  We created a spandex pocket that velcro'ed shut, and using the 
>really wide velcro, we covered the back of the pocket with the sticky 
>velcro, and then in several places on the underside of the article we 
>sewed in the soft velcro so it could be moved as needed.  We also included 
>velcro loops where you could gather up the extra tubing and have that 
>attached as well so there was less chance of it coming loose.  You can be 
>pretty creative where you hide it.  For Elizabethan we put the pump in the 
>back attached to the lower edge of her corset.  It rode right under all 
>her cartridge pleats and did just fine.
>
>Just make sure that you use the large velcro.

My quadriplegic housemate still does Ren. Faire, and had to leave a seam 
open, in his Ren. pants, for a catheter tube.  It took us a while to figure 
out the location, since, of course, he doesn't wear a skirt.  But at least 
he sits all day, so we had the totally un-period motorized chair to hide 
the rest of that system it in.  He's still part of the management of the 
Ren. Faire unit he has always been in, so he always goes to Faire.  His 
non-Faire helper-people had to adjust to this ;) They have been known to 
switch days around among themselves, to go or avoid going, as is their 
preference.


Kayta

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From: "Wanda Pease" <wandap@hevanet.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Inventories of Henry VIII (WAS: Pinned on stomachers).
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Date: Wed, 22 Jan 2003 17:00:54 -0800
Status: RO

Inter Library Loan is Your Friend! :-)  I had to have this book, but the
$250 that I could find it for was even over my head ($125 for a 13th Century
Mongolian Cookbook - when I don't cook that much?  Sure!  Bring it on!).
	I put out a want with Multnomah County Library and had a copy within about
a week.  Then it was Kinko's and I.  Cost me $50 because I did it single
side only (I've never had good luck with double sided and didn't want to
take the chance) and had it comb bound with heavy covers in two volumes.
	If they ever get serious about putting it out in paperback (say Boydell and
Brewer) I will happily buy it.  In the meantime, I'm not letting anyone else
copy mine so I believe it's "fair use" still.

Regina Romsey

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Sue Clemenger
Sent: Tuesday, January 21, 2003 10:08 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Inventories of Henry VIII (WAS: Pinned on
stomachers).


*koff, koff*
*sputter*
I think I'll be saving my money a while for _that_ one!
Thanks for the info!
--sue


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From: "Janet Davis" <castle@erie.net>
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Subject: Re: [h-cost] Philadelphia things to see?
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Date: Wed, 22 Jan 2003 20:06:50 -0500
Status: RO

Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
expressway) and doesn't look like anything but they are legendary for the
great fabric bargains you may come across.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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From h-costume-admin@indra.com  Wed Jan 22 20:29:42 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] CostumeCon 21
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Date: Wed, 22 Jan 2003 19:42:07 -0600 (CST)
Status: RO


On Wed, 22 Jan 2003, Catelli wrote:

> Also, try try try to get your costumes done ahead of time.

It hit me about a week ago that I'm going to a CostumeCon and don't have a
thing to wear, because I rarely make costumes for myself anymore. (Does
that keep me from buying fabric? Nooooo....) When I speak at SCA events, I
usually go in modern business attire, except when I'm wearing a
demonstration piece. But at CostumeCon, that doesn't feel right, at least
not for the events that are billed as specifically costumed, like the
Friday social.

So my costume-related priority list right now runs something like this: do
research for the lecture I'm updating; photograph new slides for that
lecture; make at least two costumes to clothe myself for the con. One will
be sorta medieval, and the other in a more modern period I've never done,
but was within the guidelines for the Friday social.

It is a very weird feeling to be making a costume to wear for fun rather
than for research/demonstration purposes. Now I'm cruising eBay and thrift
stores looking for vintage patterns and the right accessories. It would be
very tempting to spend much too much money just on the add-ons that would
complete the look, but I keep reminding myself I will wear it a whopping
three hours of my life. Oh, but the right wig, and shoes, and purse would
be *just* the right touches. And they're all out there. But I could drop
$200 I don't have on the whole thing if I let myself get carried away.
(And yes, I know that many CostumeCon regulars spend ten times that, and
years of work, on a single costume, but remember, this isn't my usual
milieu.)

Part of the weirdness is that I've never worked in a period in which the
*real* stuff is available for sale! Yes, I could draft the pattern myself
with no trouble, but if I can use the real thing, that adds (for me) a
satisfying level of authenticity. Not that anyone will know. :-)
	
--Robin

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Date: Wed, 22 Jan 2003 17:27:29 -0800 (PST)
Status: RO

Janet wrote:
Jo-Mar Fabrics....It's in a bad neighborhood (although
right by the
expressway) and doesn't look like anything but they
are legendary for the
great fabric bargains you may come across.

Oh, duh! I forgot about the actual textile SHOPPING to
be had.. Yes, JoMar is a wonder. If you can get to the
mothership of the various outlets at I and Venango
Streets (that's the letter "I") in the Kensington
section of Philadelphia (just off of the Allegheny
exit on I-95), you won't regret it.. The entire second
floor of this giant warehouse is crammed with an
amazing selection of just about every kind of fabric.
It's a bit lacking in good period silks, but then...
so's almost every fabric store on the planet,
unfortunately. Their wool selection is TO-DIE-FOR, and
the prices are right. If they're having a sale, the
prices can range between $3-$6 a yard... regular price
is usually in the $6-12 range.

Also, easier to access from downtown, is Fabric Row,
which is a 3-4 block stretch on 4th Street starting
around Bainbridge St. and going down to about
Carpenter St. Lots and lots of fabric shops. If I
think of more, I'll post it later...

-Tasha

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Date: Wed, 22 Jan 2003 20:06:17 -0600
Status: RO

Sounds good to me! I'm in.

Sheryl Nance-Durst

At 07:01 PM 1/21/03 -0600, you wrote:
>Would anyone going to CC21 in April be interested in getting together,
>either at one of the panels or maybe lunch one day?  Also, what about
>putting a large H on the name badges to identify one another??
>
>Genie
>
>_______________________________________________
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>h-costume@mail.indra.com
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Date: Wed, 22 Jan 2003 21:55:44 -0500
Status: RO

Janet Davis wrote:
> Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
> expressway) and doesn't look like anything but they are legendary for the
> great fabric bargains you may come across.

	And they are, until Jan 31, having their 50% off sale. 
Consider - their high end wool crepes list for $12yd off sale.

	-Judy Mitchell

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From: Drea Leed <drea@nospam>
To: h-costume@indra.com
Subject: Re: [h-cost] Philadelphia things to see
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Date: Wed, 22 Jan 2003 22:20:02 -0500 (EST)
Status: RO

WHEEEEEEEEE!

I am SO there.

Thank you.  Thank you.  Thank you.  I love you.

Drea

On Wed, 22 Jan 2003, Judy Mitchell wrote:

> Janet Davis wrote:
> > Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
> > expressway) and doesn't look like anything but they are legendary for the
> > great fabric bargains you may come across.
>
> 	And they are, until Jan 31, having their 50% off sale.
> Consider - their high end wool crepes list for $12yd off sale.
>
> 	-Judy Mitchell
>
> _______________________________________________
> 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] Philadelphia things to see
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Date: Wed, 22 Jan 2003 20:23:34 -0800
Status: RO

Woo!  Me too!  Drea, get your hands off my fabric!  :)

- Kendra

----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 7:20 PM
Subject: Re: [h-cost] Philadelphia things to see


> WHEEEEEEEEE!
>
> I am SO there.
>
> Thank you.  Thank you.  Thank you.  I love you.
>
> Drea
>
> On Wed, 22 Jan 2003, Judy Mitchell wrote:
>
> > Janet Davis wrote:
> > > Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
> > > expressway) and doesn't look like anything but they are legendary for
the
> > > great fabric bargains you may come across.
> >
> > And they are, until Jan 31, having their 50% off sale.
> > Consider - their high end wool crepes list for $12yd off sale.
> >
> > -Judy Mitchell

_______________________________________________
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In-Reply-To: <no.id> from "Kendra Van Cleave" at Jan 22, 2003 08:23:34 PM
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Date: Wed, 22 Jan 2003 20:28:18 -0800 (PST)
Status: RO

DON'T FORGET to take swatches of fabrics/outfits you might want to match!

:)


> 
> Woo!  Me too!  Drea, get your hands off my fabric!  :)
> 
> - Kendra
> 
> ----- Original Message -----
> From: "Drea Leed" <drea@nospam>
> To: <h-costume@indra.com>
> Sent: Wednesday, January 22, 2003 7:20 PM
> Subject: Re: [h-cost] Philadelphia things to see
> 
> 
> > WHEEEEEEEEE!
> >
> > I am SO there.
> >
> > Thank you.  Thank you.  Thank you.  I love you.
> >
> > Drea
> >
> > On Wed, 22 Jan 2003, Judy Mitchell wrote:
> >
> > > Janet Davis wrote:
> > > > Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
> > > > expressway) and doesn't look like anything but they are legendary for
> the
> > > > great fabric bargains you may come across.
> > >
> > > And they are, until Jan 31, having their 50% off sale.
> > > Consider - their high end wool crepes list for $12yd off sale.
> > >
> > > -Judy Mitchell
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: sewinggoddess@att.net
To: h-costume@indra.com
Subject: Re: [h-cost] Sewing Machines and Backaches
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Date: Thu, 23 Jan 2003 04:34:02 +0000
Status: RO

And remember this mantra as you (inevitably) find yourself starting to 
slouch... " I am the Sewing Princess of Bavaria!"" and adjust your self to 
sitting up as straight as the Mythical "Princess" would.  I always found a 
little silliness helped me to remember to sit up straight better!

Crissy
> Are you all suggesting one of those ergonomics chairs?  I haven't thought
> about a slanting table before.
> 
> 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, 23 Jan 2003 01:01:43 -0800
Status: RO

Sorry,  diabetic should eat six times a day,  so we call the smaller meals
at 10am-2pm-8pm snacks.   They are really not as they are part of the
prescribed diet.  Debbie
----- Original Message -----
From: "Karen Root" <smonster@optusnet.com.au>
To: <h-costume@indra.com>
Sent: Wednesday, January 22, 2003 2:35 PM
Subject: Re: [h-cost] corset/costume wearing question


> > Only it you could get easy access to it, because to have to program a
> bolus
> > dose of insulin just before you eat a meal or smack{within 5 mins.}
> Debbie
>
> Surely she shouldn't be doing Smack if she's diabetic..  :-)
>
> Sorry couldn't resist pointing out the Freudian typo.
>
> Karen
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
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Subject: [h-cost] Thanks so much
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Date: Thu, 23 Jan 2003 01:24:48 -0800
Status: RO

I really appreciate the input.  Now that I've gotten a good look at the 
parts I think there will be much less of an issue than I had thought.  I can 
even get a thigh belt holder thingy and just make hidden slits in my skirts 
so when I sit down to eat I can just slip it out of my lap and then back.

The insertion sight is much flatter than I expected so I think I'll be all 
right since I don't do tight lacing.  It's hard to portray young and nubile 
when you're old and bovine.  ;}

Anyway, I don't think it will interfere with my 1850-65 ball gown plans 
after all.



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: Thu, 23 Jan 2003 09:06:23 +0000
Status: RO

Kendra wrote:

>Goldie Hawn
>(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1 
&e=136&a=0) and Lara Flynn Boyle
>(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1 
&e=217&a=0) get my vote for worst dressed. 

Seeing that Goldie Hawn is older than I am, she looks decidedly mutton-dressed-as-lamb (a look I try hard to avoid, as a middle-aged woman stuck with a pre-adolescent figure!) - and Lara looks like an extra from "Billy Elliott"

Kate Bunting
Library, University of Derby


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Date: Thu, 23 Jan 2003 02:58:24 -0800
Status: RO

I have did an entire CostumeCon on nothing but the sarees I could stuff 
into a carry-on piece of luggage.  I changed sarees about three times a 
day, starting Friday night, using a different set of underskirt-plus-choli 
each day, total of four sets.  But then, I already own glitz sarees and 
ethnic-look sarees and day-to-day sarees, to which I added one science 
fiction saree.  My two masquerade costumes and my future fashion show 
costume took up all the rest of my luggage allotment.

> > Also, try try try to get your costumes done ahead of time.
>
>It hit me about a week ago that I'm going to a CostumeCon and don't have a
>thing to wear, because I rarely make costumes for myself anymore. (Does
>that keep me from buying fabric? Nooooo....) When I speak at SCA events, I
>usually go in modern business attire, except when I'm wearing a
>demonstration piece. But at CostumeCon, that doesn't feel right, at least
>not for the events that are billed as specifically costumed, like the
>Friday social.
>
>So my costume-related priority list right now runs something like this: do
>research for the lecture I'm updating; photograph new slides for that
>lecture; make at least two costumes to clothe myself for the con. One will
>be sorta medieval, and the other in a more modern period I've never done,
>but was within the guidelines for the Friday social.
>
>It is a very weird feeling to be making a costume to wear for fun rather
>than for research/demonstration purposes. Now I'm cruising eBay and thrift
>stores looking for vintage patterns and the right accessories. It would be
>very tempting to spend much too much money just on the add-ons that would
>complete the look, but I keep reminding myself I will wear it a whopping
>three hours of my life. Oh, but the right wig, and shoes, and purse would
>be *just* the right touches. And they're all out there. But I could drop
>$200 I don't have on the whole thing if I let myself get carried away.
>(And yes, I know that many CostumeCon regulars spend ten times that, and
>years of work, on a single costume, but remember, this isn't my usual
>milieu.)
>
>Part of the weirdness is that I've never worked in a period in which the
>*real* stuff is available for sale! Yes, I could draft the pattern myself
>with no trouble, but if I can use the real thing, that adds (for me) a
>satisfying level of authenticity. Not that anyone will know. :-)
>
>--Robin
>
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>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Thu, 23 Jan 2003 22:07:11 +1100
Status: RO

> Sorry,  diabetic should eat six times a day,  so we call the smaller meals
> at 10am-2pm-8pm snacks.   They are really not as they are part of the
> prescribed diet.  Debbie

Nah, was pointing out the fact that the reply said "Smack" instead of
"Snack"

K
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Subject: Re: [h-cost] Re: Fabric identification...
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Date: Thu, 23 Jan 2003 13:33:08 +0100 (CET)
Status: RO

While we're on the topic (I'm catching up, so please bear with me :) ) - 
a while back Robin posted an excellent description of how to perform a 
bleach test to distinguish cellulose/protein blends from all protein or 
all cellulose fabrics. I think I'm having a language thing here, because 
I'm not entirely certain what exactly is meant when on ways only 
"bleach" (the Norwegian equivalent can be used to describe a number of 
different chemicals, and I expect the chemical will make a difference). 
Is it chlorine bleach that should be used, or something else? :)

Ingrid

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Date: Thu, 23 Jan 2003 07:46:35 EST
Status: RO


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In a message dated 1/23/2003 7:15:06 AM Eastern Standard Time, 
ingridgs@techarea.net writes:


> Is it chlorine bleach that should be used, or something else? :)
> 
> 

Yes, it is chlorine bleach.
Ann Wass

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/23/2003 7:15:06 AM Eastern Standard Time, ingridgs@techarea.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Is it chlorine bleach that should be used, or something else? :)<BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
Yes, it is chlorine bleach.<BR>
Ann Wass</FONT></HTML>

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Date: Thu, 23 Jan 2003 14:11:18 +0100 (CET)
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On Thu, 23 Jan 2003 AnnBWass@aol.com wrote:
> In a message dated 1/23/2003 7:15:06 AM Eastern Standard Time, 
> ingridgs@techarea.net writes:
> > Is it chlorine bleach that should be used, or something else? :)
> 
> Yes, it is chlorine bleach.

Great, that I can do. Thanks! :)

Ingrid

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Date: Thu, 23 Jan 2003 08:26:48 -0600 (CST)
Status: RO


On Thu, 23 Jan 2003, [iso-8859-1] Ingrid G. Storrø wrote:

> While we're on the topic (I'm catching up, so please bear with me :) )
> - a while back Robin posted an excellent description of how to perform
> a bleach test to distinguish cellulose/protein blends from all protein
> or all cellulose fabrics. I think I'm having a language thing here,
> because I'm not entirely certain what exactly is meant when on ways
> only "bleach" (the Norwegian equivalent can be used to describe a
> number of different chemicals, and I expect the chemical will make a
> difference).  Is it chlorine bleach that should be used, or something
> else? :)

I think chlorine bleach would be the right thing. We use it to whiten
fabrics as a laundry aid (but it will take out dye from many fabrics) and
also as a sanitizer, in solution, for kitchen counters, diaper pails, etc.
It's cheap, and sold in gallon jugs.

--Robin



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Date: Thu, 23 Jan 2003 09:48:53 -0500
Status: RO

I remember my mother telling me years ago about an interview she saw 
with an Indian author (Sorry, I'm blanking on who, right now) who 
discussed the great advantages of the sari when on a book promotion 
tour... it folds flat, it's light weight, hardly takes up any room, you 
don't have to worry about wrinkles, have a whole wardrobe in a carry on. 
  She mostly carried silk, because she was interviewing and doing book 
signings... "No, Western dress would really not be more convenient!"

Anne

Carolyn Kayta Barrows wrote:
> I have did an entire CostumeCon on nothing but the sarees I could stuff 
> into a carry-on piece of luggage.  I changed sarees about three times a 
> day, starting Friday night, using a different set of 
> underskirt-plus-choli each day, total of four sets.  But then, I already 
> own glitz sarees and ethnic-look sarees and day-to-day sarees, to which 
> I added one science fiction saree.  My two masquerade costumes and my 
> future fashion show costume took up all the rest of my luggage allotment.
> 
>> >
> 
> 
> Kayta
> 
>    //// \\\
>   ////-@@\\\
>  ((((   7 )))
>   (((  <> ))))
>      )   ((((((
> /----\   /---\))
> 
> 

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Subject: Re: [h-cost] corset/costume wearing question
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Date: Thu, 23 Jan 2003 09:54:03 -0500
Status: RO

You could always do what we used to do with anachronisms at the Ren 
Faire---cover it with burlap! *S*



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson





>From: "Jennifer Sena" <distantdesigns@hotmail.com>
>Reply-To: h-costume@indra.com
>To: h-costume@indra.com
>CC: 19cWoman@yahoogroups.com
>Subject: [h-cost] corset/costume  wearing question
>Date: Wed, 22 Jan 2003 01:25:37 -0800
>
>I know this isn't "historically oriented" in toto, but my insulin pump 
>arrives tomorrow and I'm getting a new lease on life.  I need to know how 
>the device may impact my ability to wear certain eras, or if anyone else 
>has one and tips on how to deal with it.  Modern clothing is no problem 
>because there are so many styles to choose from, but I will have a pager 
>sized device attached to my midsection from now on and I may have to 
>rethink my fashions.  I know I'm not the only diabetic costumer around.  
>Any advice?
>
>
>
>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: Thu, 23 Jan 2003 10:00:52 -0500
Status: RO

Very good! Dressed up and pretty and healthy all together... all good 
things.

Good luck with it, hope it is very easy to integrate into your life.

Anne

Jennifer Sena wrote:
> I really appreciate the input.  Now that I've gotten a good look at the 
> parts I think there will be much less of an issue than I had thought.  I 
> can even get a thigh belt holder thingy and just make hidden slits in my 
> skirts so when I sit down to eat I can just slip it out of my lap and 
> then back.
> 
> The insertion sight is much flatter than I expected so I think I'll be 
> all right since I don't do tight lacing.  It's hard to portray young and 
> nubile when you're old and bovine.  ;}
> 
> Anyway, I don't think it will interfere with my 1850-65 ball gown plans 
> after all.
> 
> 
> 
> Jennifer Sena
> Distant Designs
>

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From: "Nancy Kiel" <nancy_kiel@hotmail.com>
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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Thu, 23 Jan 2003 10:08:04 -0500
Status: RO

And maybe the portraits aren't always accurate.  Looking through 20,000 
years, there's a portrait of Marguerite Wasa from 1528 that shows a slope of 
about 45 degrees from the base of her neck to the point of her 
shoulder---are humans made that way?  Or maybe they just kept their dresses 
on the way I'm often tempted to do-----a staplegun! *S*



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson





>From: Bella <bella_lucia_da_verona@yahoo.com.au>


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Subject: Re: [h-cost] Philadelphia things to see?
References: <001b01c2c1d6$75255c20$befc8218@hopperflop2> <001a01c2c27b$b64200a0$ef42a6d0@bookbusiness> <3E2F59B0.7000306@oldwaylane.net>
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Date: Thu, 23 Jan 2003 10:25:06 -0500
Status: RO

You say right by the expressway--which one? I don't know Philly that well and
only know how to get there by Roosevelt to Whitaker to Erie to I Street.  Would
love to know a better way.
Kate

Judy Mitchell wrote:

> Janet Davis wrote:
> > Jo-Mar Fabrics....It's in a bad neighborhood (although right by the
> > expressway) and doesn't look like anything but they are legendary for the
> > great fabric bargains you may come across.
>
>         And they are, until Jan 31, having their 50% off sale.
> Consider - their high end wool crepes list for $12yd off sale.
>
>         -Judy Mitchell
>
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Subject: [h-cost] insulin pump and mic packs
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Date: Thu, 23 Jan 2003 08:14:19 -0800 (PST)
Status: RO

If the insulin pump is indeed about the size of a
pager, it does sound like the sort of problem we have
with body mics onstage.
I've had good success using thigh pouches for some
actresses who couldn't hide a thing due to tight
corsets. If the skirt or trousers are very snug we've
even put them up high on the inside of the thigh,
which leads to some hilarity in the dressing rooms...
Good luck!  

=====
An eye for an eye makes the whole world blind.  Gandhi

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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Thu, 23 Jan 2003 11:43:31 -0500
Status: RO

Humans are not made that way, but some people have really sloping shoulders
(I'm NOT one of them, but my bf is, his shirts always tend to wrinkle around
the neckline because his shoulders drop so much)

I guess it was just a look considered attractive for the period, and the cut
of the dresses emphasized that shape. The artist might have taken liberties
somewhat to make her look more attractive in the portrait...

----- Original Message -----
From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: <h-costume@indra.com>
Sent: Thursday, January 23, 2003 10:08 AM
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's
Italian Dress


> And maybe the portraits aren't always accurate.  Looking through 20,000
> years, there's a portrait of Marguerite Wasa from 1528 that shows a slope
of
> about 45 degrees from the base of her neck to the point of her
> shoulder---are humans made that way?  Or maybe they just kept their
dresses
> on the way I'm often tempted to do-----a staplegun! *S*
>
>
>
> Nancy Kiel
> nancy_kiel@hotmail.com
> A foolish consistency is the hobgoblin of little minds.   Emerson
>
>
>
>
>
> >From: Bella <bella_lucia_da_verona@yahoo.com.au>
>
>
> _________________________________________________________________
> The new MSN 8: advanced junk mail protection and 2 months FREE*
> http://join.msn.com/?page=features/junkmail
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>
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Date: Thu, 23 Jan 2003 08:59:10 -0800
Status: RO

--=====================_3221281==.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

At 07:42 PM 1/22/2003 -0600, you wrote:

>On Wed, 22 Jan 2003, Catelli wrote:
>
> > Also, try try try to get your costumes done ahead of time.
>
>It hit me about a week ago that I'm going to a CostumeCon and don't have a
>thing to wear, because I rarely make costumes for myself anymore. (Does
>that keep me from buying fabric? Nooooo....)

I've been toying with the thought of attending this event. It would give me 
a chance to catch up with Drea and I'm really interested in the Iron 
Costumer competition! It sounds like a hoot.
If I can get the time, maybe I'll enter the historical competition as a 
novice >; )


Off to check flight info.....

Gwyn Carnegie
University of California at Davis

--=====================_3221281==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
At 07:42 PM 1/22/2003 -0600, you wrote:<br><br>
<blockquote type=cite class=cite cite>On Wed, 22 Jan 2003, Catelli
wrote:<br><br>
&gt; Also, try try try to get your costumes done ahead of time.<br><br>
It hit me about a week ago that I'm going to a CostumeCon and don't have
a<br>
thing to wear, because I rarely make costumes for myself anymore.
(Does<br>
that keep me from buying fabric? Nooooo....) </blockquote><br>
I've been toying with the thought of attending this event. It would give
me a chance to catch up with Drea and I'm really interested in the Iron
Costumer competition! It sounds like a hoot.<br>
If I can get the time, maybe I'll enter the historical competition as a
novice &gt;; ) <br><br>
<br>
Off to check flight info.....<br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_3221281==.ALT--

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Wearing 'off the shoulder' gowns
	question-was:1540's Italian Dress
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Date: Thu, 23 Jan 2003 16:59:56 +0000
Status: RO

Queen Victoria is portrayed with very sloping shoulders too.
Mine are so square, I look as though I'm wearing shoulder pads when I'm not!

Kate Bunting
Library, University of Derby

>>> audreybmorin2@hotmail.com 01/23/03 04:43pm >>>
Humans are not made that way, but some people have really sloping shoulders
(I'm NOT one of them, but my bf is, his shirts always tend to wrinkle around
the neckline because his shoulders drop so much)

I guess it was just a look considered attractive for the period, and the cut
of the dresses emphasized that shape. The artist might have taken liberties
somewhat to make her look more attractive in the portrait...

--


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
References: <F23ohpyX7MC7RapPBVT0000925b@hotmail.com> <OE72vLgAusVxONvzyJx000053e6@hotmail.com>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's Italian Dress
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Date: Thu, 23 Jan 2003 17:59:10 +0100
Status: RO

Hi
Oh yes, this is frequently used by artist. Some times the models looks
absolutely funny and most surrealistic.

Tonight i am going to open my first packages of paperclay and have fun!!!

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Thursday, January 23, 2003 5:43 PM
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's
Italian Dress


> Humans are not made that way, but some people have really sloping
shoulders
> (I'm NOT one of them, but my bf is, his shirts always tend to wrinkle
around
> the neckline because his shoulders drop so much)
>
> I guess it was just a look considered attractive for the period, and the
cut
> of the dresses emphasized that shape. The artist might have taken
liberties
> somewhat to make her look more attractive in the portrait...
>
> ----- Original Message -----
> From: "Nancy Kiel" <nancy_kiel@hotmail.com>
> To: <h-costume@indra.com>
> Sent: Thursday, January 23, 2003 10:08 AM
> Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's
> Italian Dress
>
>
> > And maybe the portraits aren't always accurate.  Looking through 20,000
> > years, there's a portrait of Marguerite Wasa from 1528 that shows a
slope
> of
> > about 45 degrees from the base of her neck to the point of her
> > shoulder---are humans made that way?  Or maybe they just kept their
> dresses
> > on the way I'm often tempted to do-----a staplegun! *S*
> >
> >
> >
> > Nancy Kiel
> > nancy_kiel@hotmail.com
> > A foolish consistency is the hobgoblin of little minds.   Emerson
> >
> >
> >
> >
> >
> > >From: Bella <bella_lucia_da_verona@yahoo.com.au>
> >
> >
> > _________________________________________________________________
> > The new MSN 8: advanced junk mail protection and 2 months FREE*
> > http://join.msn.com/?page=features/junkmail
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
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Subject: [h-cost] Good Sew News article
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Date: Thu, 23 Jan 2003 11:43:04 -0600
Status: RO

Hi,

I grabbed the February 2003 issue of "Sew News" magazine while standing in line, and there 
is a terrific little article in there written by Barbara Weiland about the amount of ease 
that pattern makers put into their patterns and a general rule of thumb to use when 
designing your own items.  Thought it might be of use to determine what you need to add or 
take out when using a modern pattern as a basis for a historic item.

Linda Thompson

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From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] CostumeCon 21
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Date: Thu, 23 Jan 2003 12:08:37 -0600 (CST)
Status: RO


On Thu, 23 Jan 2003, Gwyn Carnegie wrote:

> I've been toying with the thought of attending this event. It would
> give me a chance to catch up with Drea ...

My dear, none of us will *ever* catch up with Drea. I am convinced she is
identical triplets. Either that or she never sleeps, ever.

--Robin
(yes, I knew what you meant ;-) )

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Subject: Re: [h-cost] CostumeCon 21
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Date: Thu, 23 Jan 2003 13:08:36 -0500 (EST)
Status: RO

Gwyn, It would be great to meet you in person, too!

Drea (who does sleep, but desparately wishes she could make do with less
of it. ;)

On Thu, 23 Jan 2003, Robin Netherton wrote:

>
> On Thu, 23 Jan 2003, Gwyn Carnegie wrote:
>
> > I've been toying with the thought of attending this event. It would
> > give me a chance to catch up with Drea ...
>
> My dear, none of us will *ever* catch up with Drea. I am convinced she is
> identical triplets. Either that or she never sleeps, ever.
>
> --Robin
> (yes, I knew what you meant ;-) )
>
> _______________________________________________
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Subject: [h-cost] re:looking for stuff and syphilis glasses
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Date: Thu, 23 Jan 2003 10:44:44 -0800
Status: RO

--=====================_9555000==.ALT
Content-Type: text/plain; charset="us-ascii"; format=flowed

Catching up on email....

At 08:33 PM 1/15/2003 -0500, you wrote:
>Gwyn,
>  You asked about gchristen/Parasols.html....She is a wonderful person!!!
>  Linda Sterner

Granted; how about the parasols? I was particularly interested in the 
quality of the frames. I hate using my originals and so I'd like to 
purchase some reasonable replicas.

Someone asked what syphilis glasses were earlier. We had a network outage 
and so I don't know if anyone answered while I was incommunicado. Here is a 
site that specializes in the real thing 
http://www.eyeglasseswarehouse.com/19th-century-spectacles.html.  They were 
a variant of the standard medical sunglasses with much darker lens, often a 
deep cobalt blue. The name syphilis glasses comes from the fact that the 
later stages of the disease renders the patient very, very, light 
sensitive. They are now really popular with the Goth crowd.

And since were discussing replicas, Peterman's has a turn of the century 
waist called the Gibson Girl blouse. It was on sale last I checked. I 
picked one up and am really happy with it.  It does run small and is 
appropriately short waisted. It closes along the back of the neck to the 
shoulder and them down the front crease using press studs. For $54, I found 
the work really reasonable. Maybe someone here is looking for an item such 
as this.


Gwyn Carnegie
University of California at Davis
(who will hopefully be able to upload her dyes article to it's new home 
tonight)

--=====================_9555000==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
Catching up on email....<br><br>
At 08:33 PM 1/15/2003 -0500, you wrote:<br>
<blockquote type=cite class=cite cite><font size=2>Gwyn,</font><br>
&nbsp;<font size=2>You asked about gchristen/Parasols.html....She is a
wonderful person!!!</font><br>
&nbsp;<font size=2>Linda Sterner</font></blockquote><br>
Granted; how about the parasols? I was particularly interested in the
quality of the frames. I hate using my originals and so I'd like to
purchase some reasonable replicas.<br><br>
Someone asked what syphilis glasses were earlier. We had a network outage
and so I don't know if anyone answered while I was incommunicado. Here is
a site that specializes in the real thing
<a href="http://www.eyeglasseswarehouse.com/19th-century-spectacles.html" eudora="autourl">http://www.eyeglasseswarehouse.com/19th-century-spectacles.html</a>.&nbsp;
They were a variant of the standard medical sunglasses with much darker
lens, often a deep cobalt blue. The name syphilis glasses comes from the
fact that the later stages of the disease renders the patient very, very,
light sensitive. They are now really popular with the Goth
crowd.<br><br>
And since were discussing replicas, Peterman's has a turn of the century
waist called the Gibson Girl blouse. It was on sale last I checked. I
picked one up and am really happy with it.&nbsp; It does run small and is
appropriately short waisted. It closes along the back of the neck to the
shoulder and them down the front crease using press studs. For $54, I
found the work really reasonable. Maybe someone here is looking for an
item such as this.<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</b>(who will hopefully be able to upload her dyes article to it's new
home tonight)<br>
</font></body>
</html>

--=====================_9555000==.ALT--

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Subject: Re: [h-cost] corset/costume  wearing question
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Date: Thu, 23 Jan 2003 13:42:04 -0800
Status: RO

Ok blame it on the fact it was 3 am.  Debbie
----- Original Message -----
From: "Karen Root" <smonster@optusnet.com.au>
To: <h-costume@indra.com>
Sent: Thursday, January 23, 2003 3:07 AM
Subject: Re: [h-cost] corset/costume wearing question


> > Sorry,  diabetic should eat six times a day,  so we call the smaller
meals
> > at 10am-2pm-8pm snacks.   They are really not as they are part of the
> > prescribed diet.  Debbie
>
> Nah, was pointing out the fact that the reply said "Smack" instead of
> "Snack"
>
> K
> -----
> www.members.optusnet.com.au/smonster/
>
> _______________________________________________
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Thu, 23 Jan 2003 14:06:20 -0800
Status: RO

and Lara Flynn Boyle
> >(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1
>&e=217&a=0) get my vote for worst dressed.
>
>Seeing that Goldie Hawn is older than I am, she looks decidedly 
>mutton-dressed-as-lamb - and Lara looks like an extra from "Billy Elliott"


I can live with Goldie as she has an eternally youthful spirit, but the 
ballerina nightmare is just too much.

I do however like Beyonce Knowles bodice/skirt set.  Is that chenile 
embroidery or ribbon?  It does look like she lost a skirt "lift" in one of 
the full length pics though.

My favorite gown would have to be Rita Wilson's purple floral gown.  It was 
the only tight body dress that had enough depth in itself to not show every 
single bump lump and panty line.


Jennifer

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Date: Thu, 23 Jan 2003 17:24:06 EST
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In a message dated 1/23/03 4:27:16 AM Eastern Standard Time, 
K.M.Bunting@derby.ac.uk writes:

> Seeing that Goldie Hawn is older than I am, she looks decidedly 
> mutton-dressed-as-lamb (a look I try hard to avoid, as a middle-aged woman 
> stuck with a pre-adolescent figure!) - and Lara looks like an extra from 
> "Billy Elliott"

Am I to understand that Lara was wearing a *ballet costume*?  Yeesh, someone 
get Joan Rivers from E!  And call the Fashion Police, too!  <g>  Maybe one of 
us could offer her a makeover, including full period costuming, makeup, and 
headgear?  She'd look a sight prettier...

Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/23/03 4:27:16 AM Eastern Standard Time, K.M.Bunting@derby.ac.uk writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Seeing that Goldie Hawn is older than I am, she looks decidedly mutton-dressed-as-lamb (a look I try hard to avoid, as a middle-aged woman stuck with a pre-adolescent figure!) - and Lara looks like an extra from "Billy Elliott"</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Am I to understand that Lara was wearing a *ballet costume*?&nbsp; Yeesh, someone get Joan Rivers from E!&nbsp; And call the Fashion Police, too!&nbsp; &lt;g&gt;&nbsp; Maybe one of us could offer her a makeover, including full period costuming, makeup, and headgear?&nbsp; She'd look a sight prettier...<BR>
<BR>
Christine</FONT></HTML>

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Subject: Re: [h-cost] corset/costume wearing question
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In a message dated 1/23/03 9:55:34 AM Eastern Standard Time, 
nancy_kiel@hotmail.com writes:

> You could always do what we used to do with anachronisms at the Ren 
> Faire---cover it with burlap! *S*
> 
> 

That's a pretty good idea (in reference to a wheelchair), or you could attach 
fake wooden "wheels" to the wheels of the wheelchair, attach a small bale of 
hay to the back, and cover any armrests, buttons, etc with plain cotton or 
linen, and attach a thin panel of wood to reach side.  Voila!  A 
horse-and-carriage, where the horse happens to be invisible.  Another option 
would be to cover the whole thing in brown shag-fabric (that furry stuff that 
looks like Chewbacca), and say that it's a horse or camel.  No one will mind 
that the horse has no head..

Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/23/03 9:55:34 AM Eastern Standard Time, nancy_kiel@hotmail.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">You could always do what we used to do with anachronisms at the Ren <BR>
Faire---cover it with burlap! *S*<BR>
<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">That's a pretty good idea (in reference to a wheelchair), or you could attach fake wooden "wheels" to the wheels of the wheelchair, attach a small bale of hay to the back, and cover any armrests, buttons, etc with plain cotton or linen, and attach a thin panel of wood to reach side.&nbsp; Voila!&nbsp; A horse-and-carriage, where the horse happens to be invisible.&nbsp; Another option would be to cover the whole thing in brown shag-fabric (that furry stuff that looks like Chewbacca), and say that it's a horse or camel.&nbsp; No one will mind that the horse has no head..<BR>
<BR>
Christine</FONT></HTML>

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Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Thu, 23 Jan 2003 14:46:02 -0800
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I'm torn between Anne Hathaway's dress 
http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1&e=66&t= 
and Kate Hudson's 
http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1&e=74&a=0&t= 
for best dress.

Uma Thurman  was just glowing 
http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1&e=17&t=. 
The stylist worked for their money.

At 06:54 PM 1/21/2003 -0800, you wrote:
>I did see the Meryl Streep boob readjustment move -- I loved that she was
>totally unselfconscious about it!

Her dress was too old for her, I know she can look much better then 
that.  Did anyone catch Faye Dunaway? I hope I look half that good at her age.

Kendra wrote:
Lara Flynn Boyle 
(http://story.news.yahoo.com/news?g=events/en/012002globe&a=&tmpl=sl&ns=&l=1 
&e=217&a=0) gets my vote for worst dressed.

First thing that came to my mind was that she was this years' Bjork - 
interesting


Gwyn Carnegie
University of California at Davis

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<html>
<body>
I'm torn between Anne Hathaway's dress
<a href="http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=66&amp;t" eudora="autourl">http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=66&amp;t</a>=
and Kate Hudson's
<a href="http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=74&amp;a=0&amp;t" eudora="autourl">http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=74&amp;a=0&amp;t</a>=
for best dress. <br><br>
<font size=2>Uma Thurman </font> was just glowing
<a href="http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=17&amp;t" eudora="autourl">http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1&amp;e=17&amp;t</a>=.
The stylist worked for their money.<br><br>
At 06:54 PM 1/21/2003 -0800, you wrote:<br>
<blockquote type=cite class=cite cite>I did see the Meryl Streep boob
readjustment move -- I loved that she was<br>
totally unselfconscious about it!</blockquote><br>
Her dress was too old for her, I know she can look much better then
that.&nbsp; Did anyone catch Faye Dunaway? I hope I look half that good
at her age.<br><br>
Kendra wrote:<br>
Lara Flynn Boyle
(<a href="http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1 &amp;e=217&amp;a=0" eudora="autourl">http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1
&amp;</a>e<a href="http://story.news.yahoo.com/news?g=events/en/012002globe&amp;a=&amp;tmpl=sl&amp;ns=&amp;l=1 &amp;e=217&amp;a=0" eudora="autourl">=217&amp;a=0</a>)
gets my vote for worst dressed. <br><br>
First thing that came to my mind was that she was this years' Bjork -
interesting<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
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From: "Emily Hartman" <hartma44@msu.edu>
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Subject: RE: [h-cost] Golden Globe Fashion Bloopers
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I'm not sure how many of you have seen this take-off on Lara Flynn
Boyle's dress, but it's hilarious.  (and strangely he looks better in it
than she does)
 
http://www.warofthering.net/images/newsimages/gollum.jpg
 
Emily
 
 
 
 
In a message dated 1/23/03 4:27:16 AM Eastern Standard Time,
K.M.Bunting@derby.ac.uk writes:



Seeing that Goldie Hawn is older than I am, she looks decidedly
mutton-dressed-as-lamb (a look I try hard to avoid, as a middle-aged
woman stuck with a pre-adolescent figure!) - and Lara looks like an
extra from "Billy Elliott"


Am I to understand that Lara was wearing a *ballet costume*?  Yeesh,
someone get Joan Rivers from E!  And call the Fashion Police, too!  <g>
Maybe one of us could offer her a makeover, including full period
costuming, makeup, and headgear?  She'd look a sight prettier...

Christine

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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial =
FAMILY=3DSANSSERIF><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'>I&#8217;m not =
sure how
many of you have seen this take-off on Lara Flynn Boyle&#8217;s dress, =
but it&#8217;s
hilarious.<span style=3D'mso-spacerun:yes'>&nbsp; </span>(<span =
class=3DGramE>and</span>
strangely he looks better in it than she =
does)<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>http://www.warofthering.net/images/n=
ewsimages/gollum.jpg<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Emily<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'><o:p>&nbsp;</o:p></span></font></p>

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0in 4.0pt'>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><o:p>&nbsp;</o:p></span></font></p>

<p class=3DMsoNormal><font size=3D1 face=3DArial><span =
style=3D'font-size:7.5pt;
font-family:Arial'>In a message dated </span></font><st1:date =
Month=3D"1" Day=3D"23"
Year=3D"2003"><font size=3D1 face=3DArial><span =
style=3D'font-size:7.5pt;font-family:
 Arial'>1/23/03</span></font></st1:date><font size=3D1 =
face=3DArial><span
style=3D'font-size:7.5pt;font-family:Arial'> 4:27:16 AM Eastern Standard =
Time,
K.M.Bunting@derby.ac.uk writes:<br>
<br style=3D'mso-special-character:line-break'>
<![if !supportLineBreakNewLine]><br =
style=3D'mso-special-character:line-break'>
<![endif]><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3D"#282828" face=3DArial =
FAMILY=3DSANSSERIF><span
style=3D'font-size:10.0pt;font-family:Arial;color:#282828;background:whit=
e'>Seeing
that Goldie Hawn is older than I am, she looks decidedly =
mutton-dressed-as-lamb
(a look I try hard to avoid, as a middle-aged woman stuck with a =
pre-adolescent
figure!) - and Lara looks like an extra from &quot;Billy =
Elliott&quot;<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3D"#282828" face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:#282828;background:whit=
e'><br>
</span></font><font size=3D1 color=3Dblack face=3DArial =
FAMILY=3DSANSSERIF><span
style=3D'font-size:7.5pt;font-family:Arial;color:black;background:white'>=
<br>
</span></font><font color=3Dblack face=3DArial FAMILY=3DSANSSERIF><span
style=3D'font-family:Arial;color:black;background:white'>Am I to =
understand that
Lara was wearing a *ballet costume*?&nbsp; Yeesh, someone get Joan =
Rivers from
E!&nbsp; And call the Fashion Police, too!&nbsp; &lt;g&gt;&nbsp; Maybe =
one of
us could offer her a makeover, including full period costuming, makeup, =
and
headgear?&nbsp; She'd look a sight prettier...<br>
<br>
Christine</span></font><o:p></o:p></p>

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Not sure if I am attending yet as it will depend on family obligations.
However, I registered last year and hope to be able to go.

I've never been to one of these before - can anyone give me an idea of the
ratio of costumed to non-costumed at masquerades, etc? I want to dress up
but don't have 20 different costumes to wear to different things!

Thanks in advance,

Allison

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<P><FONT SIZE=3D2>Not sure if I am attending yet as it will depend on =
family obligations. However, I registered last year and hope to be able =
to go.</FONT></P>

<P><FONT SIZE=3D2>I've never been to one of these before - can anyone =
give me an idea of the ratio of costumed to non-costumed at masquerades, =
etc? I want to dress up but don't have 20 different costumes to wear to =
different things!</FONT></P>

<P><FONT SIZE=3D2>Thanks in advance,</FONT>
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<P><FONT SIZE=3D2>Allison</FONT>
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I think it's fair to say that the outfit is too awful almost to even 
seriously consider....................and yet, for anyone in her line of 
work, ANY publicity is GOOD publicity. I have to confess I've seen more press 
about her outfit than any other, and it has brought her name into the public 
eye, so it's hard to say it's a failure.

Perry

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SERIF" FACE="Bookman Old Style" LANG="0">I think it's fair to say that the outfit is too awful almost to even seriously consider....................and yet, for anyone in her line of work, ANY publicity is GOOD publicity. I have to confess I've seen more press about her outfit than any other, and it has brought her name into the public eye, so it's hard to say it's a failure.<BR>
<BR>
Perry</FONT></HTML>

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Subject: Re: [h-cost] Re: Costume Con 21
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Date: Thu, 23 Jan 2003 17:38:27 -0600
Status: RO

The Masquerades are formal competitions where the entrants do prepared
performances on a stage. Their costumes and their performances are then
judged for awards by a panel of judges. There will also be 'hall costume'
awards given by a secret cabal of judges to unsuspecting costumed people
wandering the hallways- no performance or presentation neccessary. The
social on Friday night is themed (Gangsters -Pick an era!) and everyone
is expected to participate in the theme in some way. Other than that,
costumes are entirely voluntary. Wear whatever you like. Many people
either don't wear cotumes during the day for panels and classes, or they
wear very simple, easy costumes and save the really show-stopping efforts
for the evenings. 


Karen

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Date: Thu, 23 Jan 2003 17:41:06 -0600
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I love Rachel Griffiths' dress:
 
http://story.news.yahoo.com/news?tmpl=story
<http://story.news.yahoo.com/news?tmpl=story&u=/030120/168/32rvj.html>
&u=/030120/168/32rvj.html
 
Kim
 
 
 

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<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
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<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3DArial><span =
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Costume Con 21
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Date: Thu, 23 Jan 2003 15:29:07 -0800
Status: RO


>Not sure if I am attending yet as it will depend on family obligations. 
>However, I registered last year and hope to be able to go.
>
>I've never been to one of these before - can anyone give me an idea of the 
>ratio of costumed to non-costumed at masquerades, etc? I want to dress up 
>but don't have 20 different costumes to wear to different things!

I don't know about the ratio lately but, since fiber art is costuming, some 
people show up in interesting wearable-art vests/jackets over regular 
clothes.  One doesn't have to dress up fancy at these.


Kayta

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns 
 question-was:1540's Italian Dress
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Date: Thu, 23 Jan 2003 10:25:31 -0800
Status: RO

>  >>> audreybmorin2@hotmail.com 01/23/03 04:43pm >>>
>Humans are not made that way, but some people have really sloping shoulders
>(I'm NOT one of them, but my bf is, his shirts always tend to wrinkle around
>the neckline because his shoulders drop so much)
>
>I guess it was just a look considered attractive for the period, and the cut
>of the dresses emphasized that shape. The artist might have taken liberties
>somewhat to make her look more attractive in the portrait...

At 4:59 PM +0000 1/23/03, Kate M Bunting wrote:
>Queen Victoria is portrayed with very sloping shoulders too.
>Mine are so square, I look as though I'm wearing shoulder pads when I'm not!
>

You really realize how much artistic style has to do with it when you 
look at Victorian books on historic costume and you recognize 
specific works of medieval art ... except everyone has Victorian 
shoulders!

Heather
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Subject: [h-cost] Handsewn Shirt pattern
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Date: Thu, 23 Jan 2003 16:00:55 -0800
Status: RO

The seventh graders (12 year olds, for those of your outside the American
school system) at my children's Waldorf school are doing a unit on
handsewing.  They are supposed to make an actual garment, and since the 7th
grade curriculum also includes studying the Renaissance, and since they'll
be doing the Maypole dance at the school's Renaissnace Faire,  the teacher
would like to have them make simple renaissance styled shirts.  Guess who
they asked for a pattern?

Most of the children have never sewn before, but they've been doing
handwork such as knitting since they were six years old, so they're not as
intimidated by hand sewing as most would be.

I already have perfectly nice patterns on hand for an Elizabethan shirt and
high necked smock (we want to encourage modesty in young girls, harumph!)
What I'm wondering is, is the authentic styling, with the teeny neck
gussets and the banded collar and cuffs, too difficult for beginners?  If
so, what would be easier and still give the impression of a renaissance
style?  

Also, I've never actually handsewn anything more complicated than an apron.
 I know run and fell seams were usually used for shirt seams, is there
anything else I should tell them?

Margo


"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Thu, 23 Jan 2003 18:24:30 -0500
Status: RO

This is off-topic...  but, I know that some of the folks on this list are 
librarians.  Could you please email me off-list?  I'm contemplating a 
change of career course, and have a few questions.

Thanks,
Mara


Kevin + Mara Riley

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From h-costume-admin@indra.com  Thu Jan 23 19:22:49 2003
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: [h-cost] Handsewn Shirt pattern
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Date: Fri, 24 Jan 2003 11:26:06 +1100
Status: RO

Margo,

I would say that gussets are definitely too fiddly for beginners - they can
get fiddly towards those points, especially when felling the seam down - too
many layers of material at once! I find them quite difficult to do myself,
and I've handsewed over 10 shirts/tunics with gussets.
You could leave them baggy at the shoulder, or go with a shoulder seam that
slopes slightly. Baggy is less sewing, though! Generic renaissance would
have baggy sleeves anyway, so it wouldn't look out of place. I don't think
that the banded cuffs and collars would be that difficult to sew, if you sew
them on with the outside seam as a run (I use a double-run to be sure
myself) first, and then the inside seam as a standard hem, rather than
trying to sew the whole thing at once. Also, another thing to make the
sewing easy with the cuffs is to quickly sew the pleats/gathers in place
before attaching the cuff. Stops things slipping around, or getting bled
with pin pricks.

Sounds like they'll have a great time being able to use the things they're
making, and not just for a once-off either - 12yos always have a need for a
pirate shirt.

BTW: I know I've been slack - I've been busy working away at new clothes for
my husband and son since December, and haven't told anyone about them - I'll
do it soon, honest, with photos - we're getting a new digital camera any day
now. They're taking their time in getting made as it's summer holidays here
and I'm trying to work, get out a bit, and not get too hot sewing woolens in
heat up to 40 C (thank goodness for a/c).

Glenda.

----- Original Message -----
From: "Margo Anderson" <margo@margospatterns.com>
To: <h-costume@indra.com>; <margospatterns@yahoogroups.com>
Sent: Friday, January 24, 2003 11:00 AM
Subject: [h-cost] Handsewn Shirt pattern


> The seventh graders (12 year olds, for those of your outside the American
> school system) at my children's Waldorf school are doing a unit on
> handsewing.  They are supposed to make an actual garment, and since the
7th
> grade curriculum also includes studying the Renaissance, and since they'll
> be doing the Maypole dance at the school's Renaissnace Faire,  the teacher
> would like to have them make simple renaissance styled shirts.  Guess who
> they asked for a pattern?
>
> Most of the children have never sewn before, but they've been doing
> handwork such as knitting since they were six years old, so they're not as
> intimidated by hand sewing as most would be.
>
> I already have perfectly nice patterns on hand for an Elizabethan shirt
and
> high necked smock (we want to encourage modesty in young girls, harumph!)
> What I'm wondering is, is the authentic styling, with the teeny neck
> gussets and the banded collar and cuffs, too difficult for beginners?  If
> so, what would be easier and still give the impression of a renaissance
> style?
>
> Also, I've never actually handsewn anything more complicated than an
apron.
>  I know run and fell seams were usually used for shirt seams, is there
> anything else I should tell them?
>
> Margo
>
>
> "One Tough Costumer"
>
>
> See the newly updated Historic Costume Patterns website at
> margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From h-costume-admin@indra.com  Thu Jan 23 19:30:51 2003
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Date: Thu, 23 Jan 2003 16:30:43 -0800
Status: RO

Margo,

You might consider looking at a couple Victorian or Edwardian 
manuals for teachers of grade school level sewing.  Yes, I know 
these are Renaissance shirts and 21st-century children.  However, 
the manuals are interesting in that they break down exactly what 
order to teach stitches in, what words to use to explain things to 
the kids, etc.  Some are practically canned lectures.  They usually 
have stitch diagrams too.  I know one I have is _Needlework and 
Cutting Out_ by Emily G. Jones (1885), and another with a similar 
title by Agnes Walker, from somewhere in the 1890s.  That's 
practically a generic title for this type of book from circa 1880 to 
1910, and a search on it tends to yield multiple results. Anyway, 
you might find these books interesting.

Fran

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

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Date: Thu, 23 Jan 2003 19:40:48 -0500
Status: RO

Kate Pinner wrote:
> You say right by the expressway--which one? I don't know Philly that well and
> only know how to get there by Roosevelt to Whitaker to Erie to I Street.  Would
> love to know a better way.
> Kate

I don't know Philly well at all, but when I come off of I95, 
I take the exit for Bath/Alleghany (it's new exit 25), and 
turn onto Westmoreland St at the bottom of the ramp (mind 
you, I'm coming from the south). If you take Westmoreland, 
through all the stop signs and stop lights, It makes a soft 
Right turn underneath the elevated subway (you know your 
there when you see a support column in the middle of the 
street) and becomes I St. Then it's just a couple of blocks 
up from there on the Right hand side: building with JOMAR in 
big black letters.
	the place is a dive, but they have rolls of fabric 3 deep 
on the very long tables, and stacked up along the wall and 
on the wall, and it takes up the entire 2nd floor of the 
building. Yes, they take plastic.

	The wool is mostly to the left of the cash register area, 
and there is linen (not a lot) hiding IN the far end of a 
table of cottons. I don't know if they have any left, but 
they even had rolls of 25yds of sew-in interface for $5.

	have fun!
	-Judy Mitchell

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Date: Thu, 23 Jan 2003 19:16:11 -0700
Status: RO

Yeah, well, none of us would ever catch up with you, either! <weg> (or
Bjarne, or Margo, or.....)
--sue, who'd *love* to be able to come.....*sniff*
(and yes, I know what you both meant)

Robin Netherton wrote:
> 
> On Thu, 23 Jan 2003, Gwyn Carnegie wrote:
> 
> > I've been toying with the thought of attending this event. It would
> > give me a chance to catch up with Drea ...
> 
> My dear, none of us will *ever* catch up with Drea. I am convinced she is
> identical triplets. Either that or she never sleeps, ever.
> 
> --Robin
> (yes, I knew what you meant ;-) )
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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] CostumeCon 21
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Date: Thu, 23 Jan 2003 22:36:22 -0500 (EST)
Status: RO

OK, I have in one fell swoop abandoned the idea for a crimson bias-cut
gown for the Friday night soiree (let's face it, these hips just don't
jibe with bias cut anything) and have done a complete about face: I'm now
looking for a good zoot suit pattern.  Anyone know of one?  I've heard
gail's rant about the Vogue pattern, so I'm a bit leery of that one.  Any
other ones you guys know of?

Thanks,

Drea the totally clueless when it comes to 30s dress


On Thu, 23 Jan 2003, Sue Clemenger wrote:

> Yeah, well, none of us would ever catch up with you, either! <weg> (or
> Bjarne, or Margo, or.....)
> --sue, who'd *love* to be able to come.....*sniff*
> (and yes, I know what you both meant)
>
> Robin Netherton wrote:
> >
> > On Thu, 23 Jan 2003, Gwyn Carnegie wrote:
> >
> > > I've been toying with the thought of attending this event. It would
> > > give me a chance to catch up with Drea ...
> >
> > My dear, none of us will *ever* catch up with Drea. I am convinced she is
> > identical triplets. Either that or she never sleeps, ever.
> >
> > --Robin
> > (yes, I knew what you meant ;-) )
> _______________________________________________
> 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 Jan 23 23:30:51 2003
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Subject: [h-cost] Re: Jo-Mar in Philadelphia
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Date: Thu, 23 Jan 2003 23:30:10 EST
Status: RO


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There are at least two Jo-Mars in Philadelphia as well as others in the 
surrounding area.  One is right off I-95 and is easiest to see when driving 
north on I-95.  The other one is at the intersection of Atlantic and I 
streets.  Of the two, I recommend the latter as it seems to be bigger and 
have a wider selection.  There is also another closeout store next to it 
which occasionally has interesting things.

The address is 3525 I Street.

Finding the entrance back onto 95 can be difficult whichever one you go to.

Have fun!

Nancy Stengel Ulmer
(Maddalena Salutati)

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">There are at least two Jo-Mars in Philadelphia as well as others in the surrounding area.&nbsp; One is right off I-95 and is easiest to see when driving north on I-95.&nbsp; The other one is at the intersection of Atlantic and I streets.&nbsp; Of the two, I recommend the latter as it seems to be bigger and have a wider selection.&nbsp; There is also another closeout store next to it which occasionally has interesting things.<BR>
<BR>
The address is 3525 I Street.</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
Finding the entrance back onto 95 can be difficult whichever one you go to.<BR>
<BR>
Have fun!<BR>
<BR>
Nancy Stengel Ulmer<BR>
(Maddalena Salutati)</FONT></HTML>

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From: Emma Elizabeth Lehman <00217146@bigred.unl.edu>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Handsewn Shirt pattern
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Date: Thu, 23 Jan 2003 22:57:13 -0600 (CST)
Status: RO


> Also, I've never actually handsewn anything more complicated than an apron.
>  I know run and fell seams were usually used for shirt seams, is there
> anything else I should tell them?

Whatever you do, don't tell them it's hard!  Several of the beginning
sewers I've walked through the steps of tunic-making set gussets much more
nicely than I do, because I never told them it would be difficult.  To
them, it was just one more hurdle to jump over in a long series of them.

Emma

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Date: Thu, 23 Jan 2003 23:04:32 -0600
Status: RO

Hi Drea,

I'm not completely conversant in 1930's dresses myself, but I always find
the David Suchet 'Hercule Poirot' mysteries very inspirational, lots of
terrific '30's styles, especially on the intrepid Miss Lemon. 

By the way, I have no idea what I'm wearing to the social yet either!


Karen

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Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Fri, 24 Jan 2003 08:38:57 +0000 (GMT)
Status: RO

 --- IceGirlNIN@aol.com wrote: > In a message dated 1/23/03 4:27:16 AM Eastern
Standard Time, 

> Am I to understand that Lara was wearing a *ballet costume*?  Yeesh, someone 
> get Joan Rivers from E!  And call the Fashion Police, too!  <g>  Maybe one of

Okay, maybe I'm a pervert or something, but I LIKED it and I absolutely loved
the cute shoes with the criss crosed satin ribbons up her calves.

Nicole - former ballet etudiante

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Fri, 24 Jan 2003 09:09:39 EST
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In a message dated 1/23/2003 7:00:00 PM Eastern Standard Time, 
margo@margospatterns.com writes:


> What I'm wondering is, is the authentic styling, with the teeny neck
> gussets and the banded collar and cuffs, too difficult for beginners?  If
> so, what would be easier and still give the impression of a renaissance
> style?  
> 
> 

I would say, nix the neck gussets--even experienced sewers can find them 
difficult.  I would shape the neck like a modern shirt/blouse, and the gusset 
wouldn't be necessary.  You could do a simple stand-up collar--probably as 
simple an option as any other way of finishing the neckline.  The cuff could 
also be difficult--I would definitely suggest only a slit in the seam for the 
opening, if you go for cuffs.  You might want to consider an option of no 
cuff, but only a hemmed sleeve.

I'm speaking from experience--many novice sewers, especially middle school 
age, don't have the skills or the interest to do even a passable job.  A few, 
of course, will really take to the project, enjoy it, and do a good job. 

Good luck!
Ann Wass

--part1_1d2.b406ce.2b62a323_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/23/2003 7:00:00 PM Eastern Standard Time, margo@margospatterns.com writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">What I'm wondering is, is the authentic styling, with the teeny neck<BR>
gussets and the banded collar and cuffs, too difficult for beginners?&nbsp; If<BR>
so, what would be easier and still give the impression of a renaissance<BR>
style?&nbsp; <BR>
<BR>
</BLOCKQUOTE><BR>
<BR>
I would say, nix the neck gussets--even experienced sewers can find them difficult.&nbsp; I would shape the neck like a modern shirt/blouse, and the gusset wouldn't be necessary.&nbsp; You could do a simple stand-up collar--probably as simple an option as any other way of finishing the neckline.&nbsp; The cuff could also be difficult--I would definitely suggest only a slit in the seam for the opening, if you go for cuffs.&nbsp; You might want to consider an option of no cuff, but only a hemmed sleeve.<BR>
<BR>
I'm speaking from experience--many novice sewers, especially middle school age, don't have the skills or the interest to do even a passable job.&nbsp; A few, of course, will really take to the project, enjoy it, and do a good job. <BR>
<BR>
Good luck!<BR>
Ann Wass</FONT></HTML>

--part1_1d2.b406ce.2b62a323_boundary--
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Subject: Re: [h-cost] Handsewn Shirt pattern
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Date: Fri, 24 Jan 2003 06:47:42 -0500
Status: RO

 The seventh graders (12 year olds, for those of your outside the American
> school system) at my children's Waldorf school are doing a unit on
> handsewing.  They are supposed to make an actual garment, and since the
7th
> grade curriculum also includes studying the Renaissance {snipped)

I agree that they can do it if they don't know it is supposed to be hard.
But let me warn you,  THEY LOSE NEEDLES.     Actually, they lose pins,
thread, their pieces of their project,  but needles   ?   One student can
lose a package in a class.  There are only 3 posted rules in my classroom,
but this is where they start to understand why
   I am not Mom
 is a posted rule.

   Think NOW about how you are going to stress not losing things, and how
you are going to help them have an organized place to put it.  It is why I
have them sew star-shaped pincushions first - and stress it everystep of the
way.

  By the way,  I had not thought about how fast the seam rippers would
disappear.  Even in the best of my classes,  they disappear.  Even more than
just being lost,  they are far too tempting a weapon/annoyance for many
students.


Rules of the Classroom:
1)  No gum
2)  I'm not Mom
3)  Is it Yours?

Rowena,  in upstate NY York,  where it is barely above zero even when it
"arms up" for the day, and it keeps on snowing!

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Date: Fri, 24 Jan 2003 00:03:39 -0600
Status: RO

Robin,
For the wig, at least, you can try Lacey Costume Wigs in New York 
City.  They have a huge selection of styles, REALLY cheap.  I don't think 
they have a web site,  and I don't have my catalog handy (anyone else, 
maybe?) but you should be able to get their phone number from directory 
assistance, if nothing else.  We haven't ordered from them in a year or so, 
but they always remember our (infrequent) orders.  Very nice people.  When 
last we ordered, I think their most expensive wig (other than the real 
human hair ones) was about $50, and that was for the super-elaborate Marie 
Antionette with tons of rolls and curls.  Most are $10 or $15 or less.

Sandy

>Date: Wed, 22 Jan 2003 19:42:07 -0600 (CST)
>From: Robin Netherton <robin@shell.nightowl.net>
>Subject: Re: [h-cost] CostumeCon 21
>
>It hit me about a week ago that I'm going to a CostumeCon and don't have a
>thing to wear, because I rarely make costumes for myself anymore.
>  Now I'm cruising eBay and thrift
>stores looking for vintage patterns and the right accessories. It would be
>very tempting to spend much too much money just on the add-ons that would
>complete the look, but I keep reminding myself I will wear it a whopping
>three hours of my life. Oh, but the right wig, and shoes, and purse would
>be *just* the right touches. And they're all out there.
>--Robin

"Those Who Fail To Learn History
Are Doomed To Repeat It;
Those Who Fail To Learn History Correctly--
Why They Are Simply Doomed."

Achemdro'hm
"The Illusion of Historical Fact"
-- C.Y. 4971

Andromeda


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From: "Five Rivers" <info@5rivers.org>
To: "Historic Costume List" <h-costume@net.indra.com>
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Subject: [h-cost] Potential Workshop
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Date: Fri, 24 Jan 2003 11:24:11 -0500
Status: RO

    Here at Five Rivers we are thinking of putting together a Regency Corset
workshop weekend with Deb Salisbury of The Mantua-Maker, some time in 2004.
There are a lot of details to work out, as well as feasibility of bringing
Deb up to Neustadt, Ontario from California. We are located, BTW, about
three hours northwest of Toronto, just south of Hanover, east of Walkerton.
Said another way, we are about 1 1/2 hours northwest of Guelph, Ontario.

    Tentatively we'd been looking at around April or May of 2004, with
guests to arrive Friday evening and leave Sunday evening or Monday morning.
We can accommodate up to 10 people, two in truckle beds in the loft, the
remaining eight in sleeping bags in the loft. Imagine a sort of bunkhouse/pj
party. All meals will be included. If I can get a full complement of people
there is a very real possibility of having the weekend catered. All
materials would be included. In addition, Deb has said if anyone had a
Mantua-Maker pattern they wished assistance with she would be pleased to do
that after-hours. This, BTW, would be a handsewn corset weekend. Whatever
you did after hours would be up to you.

    If we had over 10 participants we would have to look at people either
camping in tents in the backyard, which could be done, or choosing to book
in at the village's local B&B.

    So, if the list wouldn't mind, we'd really appreciate some feedback.
Please respond privately to feedback@5rivers.org so we don't clutter up the
list with discussion of something not entirely relavant to its mandate.

1. Would you be interested in attending a weekend workshop on Regency Corset
making?
2. Would the tentative cost of $220.00/person (includes workshop, kit,
accommodations here and meals) be acceptable?
3. Would April be an acceptable month to hold the workshop? If not, which
month would be better?
4. Would travel to Neustadt, Ontario be acceptable, or is the distance a
problem?
5. Any other suggestions?

Regards
Lorina

Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org


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Date: Fri, 24 Jan 2003 11:36:43 -0500
Status: RO


Emily, thanks for posting that link, it's too funny!

Not to defend Lara Flynn Boyle, but I saw the picture in a magazine and she
did say it was supposed to be a joke.

Personally, I thought she might be having a "Twin Peaks" flashback!

Gail Finke

quoted message starts here:

I'm not sure how many of you have seen this take-off on Lara Flynn
Boyle's dress, but it's hilarious.  (and strangely he looks better in it
than she does)
 
http://www.warofthering.net/images/newsimages/gollum.jpg
 
Emily
 

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Date: Fri, 24 Jan 2003 16:42:58 -0500
Status: RO

There's one from McCall's Costumes, I have REALLY no idea what it's worth,
since McCall's costume patterns tend to look... well... like Halloween
costumes, rather than recreations...

----- Original Message -----
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.com>
Sent: Thursday, January 23, 2003 10:36 PM
Subject: Re: [h-cost] CostumeCon 21


> OK, I have in one fell swoop abandoned the idea for a crimson bias-cut
> gown for the Friday night soiree (let's face it, these hips just don't
> jibe with bias cut anything) and have done a complete about face: I'm now
> looking for a good zoot suit pattern.  Anyone know of one?  I've heard
> gail's rant about the Vogue pattern, so I'm a bit leery of that one.  Any
> other ones you guys know of?
>
> Thanks,
>
> Drea the totally clueless when it comes to 30s dress
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Date: Fri, 24 Jan 2003 08:48:25 -0800
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I think McCall's came out with one too though I haven't tried it. Have you 
looked at Revamp's page? Plenty of affordable dresses and even suits there.

I had been debating on what to do for Friday night as well. I torn between 
my black silk 30's bias cut dress (if I can loose post Gaskell's pounds) or 
going as a suffragette or woman's axillary so I can run around scolding 
people on the evils of gin and the Charleston >; )

At 10:36 PM 1/23/2003 -0500, you wrote:
>OK, I have in one fell swoop abandoned the idea for a crimson bias-cut
>gown for the Friday night soiree (let's face it, these hips just don't
>jibe with bias cut anything) and have done a complete about face: I'm now
>looking for a good zoot suit pattern.  Anyone know of one?  I've heard
>gail's rant about the Vogue pattern, so I'm a bit leery of that one.  Any
>other ones you guys know of?
>
>Thanks,
>
>Drea the totally clueless when it comes to 30s dress
>
>On Thu, 23 Jan 2003, Sue Clemenger wrote:
>
> > Yeah, well, none of us would ever catch up with you, either! <weg> (or
> > Bjarne, or Margo, or.....)
> > --sue, who'd *love* to be able to come.....*sniff*
> > (and yes, I know what you both meant)
> >
> > Robin Netherton wrote:
> > >
> > > On Thu, 23 Jan 2003, Gwyn Carnegie wrote:
> > >
> > > > I've been toying with the thought of attending this event. It would
> > > > give me a chance to catch up with Drea ...
> > >
> > > My dear, none of us will *ever* catch up with Drea. I am convinced she is
> > > identical triplets. Either that or she never sleeps, ever.
> > >
> > > --Robin
> > > (yes, I knew what you meant ;-) )

Gwyn Carnegie
University of California at Davis

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<html>
<body>
<br>
I think McCall's came out with one too though I haven't tried it. Have
you looked at Revamp's page? Plenty of affordable dresses and even suits
there.<br><br>
I had been debating on what to do for Friday night as well. I torn
between my black silk 30's bias cut dress (if I can loose post Gaskell's
pounds) or going as a suffragette or woman's axillary so I can run around
scolding people on the evils of gin and the Charleston &gt;; )<br><br>
At 10:36 PM 1/23/2003 -0500, you wrote:<br>
<blockquote type=cite class=cite cite>OK, I have in one fell swoop
abandoned the idea for a crimson bias-cut<br>
gown for the Friday night soiree (let's face it, these hips just
don't<br>
jibe with bias cut anything) and have done a complete about face: I'm
now<br>
looking for a good zoot suit pattern.&nbsp; Anyone know of one?&nbsp;
I've heard<br>
gail's rant about the Vogue pattern, so I'm a bit leery of that
one.&nbsp; Any<br>
other ones you guys know of?<br><br>
Thanks,<br><br>
Drea the totally clueless when it comes to 30s dress<br><br>
On Thu, 23 Jan 2003, Sue Clemenger wrote:<br><br>
&gt; Yeah, well, none of us would ever catch up with you, either!
&lt;weg&gt; (or<br>
&gt; Bjarne, or Margo, or.....)<br>
&gt; --sue, who'd *love* to be able to come.....*sniff*<br>
&gt; (and yes, I know what you both meant)<br>
&gt;<br>
&gt; Robin Netherton wrote:<br>
&gt; &gt;<br>
&gt; &gt; On Thu, 23 Jan 2003, Gwyn Carnegie wrote:<br>
&gt; &gt;<br>
&gt; &gt; &gt; I've been toying with the thought of attending this event.
It would<br>
&gt; &gt; &gt; give me a chance to catch up with Drea ...<br>
&gt; &gt;<br>
&gt; &gt; My dear, none of us will *ever* catch up with Drea. I am
convinced she is<br>
&gt; &gt; identical triplets. Either that or she never sleeps, 
ever.<br>
&gt; &gt;<br>
&gt; &gt; --Robin<br>
&gt; &gt; (yes, I knew what you meant ;-) )<br>
</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
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I'm hoping to purchase two items before CC21 to save myself some time.  I'm 
looking for a med sized 1850's crinoline (about 120" circ.) and at least 
one well made petticoat to go over it. Alteryears used to make a decent 
crinoline in two sizes but I was told that they quit manufacturing these a 
while ago.

Sure I can make one but part of the "deal" I made with my department is 
that I will have all my grants ready and out the door before I leave on the 
17th. That means my time for sewing will be slim to say the least.


Gwyn Carnegie
University of California at Davis

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<br><br>
I'm hoping to purchase two items before CC21 to save myself some
time.&nbsp; I'm looking for a med sized 1850's crinoline (about 120&quot;
circ.) and at least one well made petticoat to go over it. Alteryears
used to make a decent crinoline in two sizes but I was told that they
quit manufacturing these a while ago.&nbsp; <br><br>
Sure I can make one but part of the &quot;deal&quot; I made with my
department is that I will have all my grants ready and out the door
before I leave on the 17th. That means my time for sewing will be slim to
say the least.<br><br>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
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Subject: [h-cost] Elizabethan Patterns?
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Date: Sat, 25 Jan 2003 01:23:35 EST
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Hi all!

Could someone perhaps point me in the direction of a decent Elizabethan 
(specifically royal) pattern for women?  I've found Margo Anderson's 
patterns, and while they're lovely and very authentic (so it seems, anyhow, 
from the glowing reviews), spending $75 on patterns for a single dress is not 
something I want to do until I've exhausted all other options.  Her patterns, 
while they look wonderful to work with, are just a little steep for a 
starving college student.  Which I will be, in a short time!  Please note 
that "options" does not include drafting my own patterns- I'm not at that 
level yet!


Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Hi all!<BR>
<BR>
Could someone perhaps point me in the direction of a decent Elizabethan (specifically royal) pattern for women?&nbsp; I've found Margo Anderson's patterns, and while they're lovely and very authentic (so it seems, anyhow, from the glowing reviews), spending $75 on patterns for a single dress is not something I want to do until I've exhausted all other options.&nbsp; Her patterns, while they look wonderful to work with, are just a little steep for a starving college student.&nbsp; Which I will be, in a short time!&nbsp; Please note that "options" does not include drafting my own patterns- I'm not at that level yet!<BR>
<BR>
<BR>
Christine</FONT></HTML>

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's  Italian Dress
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Date: Sat, 25 Jan 2003 16:44:13 +0000
Status: RO

Oh I'm so disappointed!  We always reckoned that off-the-shoulder style 
developed because the king required that all the ladies in waiting 
should be ready to fall out of their dresses at a moment's notice :-)

Jean



N Kipar <nicolas_fouquet@yahoo.com> wrote
> --- Claire Clarke <Lady_Angharad@bigpond.com> wrote: >
>
>> The off the shoulder dress was a 1660's style, which was designed to be
>> off
>> the shoulder. The shoulder straps cover the top 5cm or so of the arm.
>> This does
>> make it difficult to move my shoulders (ie I have a fairly restricted
>> arm movement)
>> which is a bit annoying, but the straps don't fall down, mainly I think,
>> because the
>> bodice is boned within an inch of its life.
>
>The samegoes for my 1660s dress and everyone else's in the group. The trick
>isnot in the straps at all, they need no tension, at least in ths period,
>because the bodices were fully boned, which means there is no way anything can
>move on the body at all, not up, not down, not sideways, nothing, it is like a
>Victorian corset in a way, if that makes sense. The green dress that you showed
>us looks as if its bodice was boned too.
>We re-creaters are not the only ones with the problem of not being able to move
>the arms very much. That's the whole point, one wasn't. This is why I have yet
>to see a representation of a woman who does any kind of physical work, wearing
>an off-the-shoulder bodice in the 1650s, 60s and 70s. I am currently
>researching/writing on the gender implications rearding those gowns. All will
>be revealed in appr. 5 years time. *laughs*
>
>Nicole
>
>=====
>Nicole Kipar M.A.
>URL: http://www.kipar.org/
>Email: nicole@kipar.org
>
>__________________________________________________
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-- 
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Subject: [h-cost] Lysistrata Project/Greek Costumes
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Date: Sat, 25 Jan 2003 14:24:58 -0800
Status: RO

Hi - I hope that this post doesn't offend anyone.  It is much more 
political in nature than most are.  If it does, please ignore the political 
content and just address the costume content and accept my apologies.

I want to have the co-housing community that I live in participate in the 
Lysistrata Project.  This (and here comes the political content) is a 
project to have readings of Lysistrata on March 3rd all over the world to 
protest the possibility of war.

I would like to consider having the readers in costume.  I think that that 
would be fun, assuming that I can convince anybody to wear 
costumes.  However, I don't have any idea what the ancient Greek women 
would have been wearing.  I think that for the men it would be knee length 
tunics and a toga, but what would the women have worn?  Did they wear 
togas? Am I right about the men?

I appreciate any information anyone can give me.  If anyone is in the 
Sacramento area and would like to attend, let me know, probably off the 
list at mabse@attbi.com.  thanks, maryann

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Subject: Re: [h-cost] Lysistrata Project/Greek Costumes
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Date: Sat, 25 Jan 2003 17:40:14 EST
Status: RO


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Personally, I found Lysistrata to be incredibly entertaining, although I had 
a very old translation.  Greek women often wore chitons.  Homeric and Archaic 
periods included the Doric and Ionic chitons, which (according to the drawing 
I've got from a costuming book) are basically a drawstring skirt, embroidered 
or with a pattern down at the hem, and a tunic, the hem of which would also 
be embroidered/patterned.  The Doric chiton seems to be belted, while the 
Ionic is left loose.  They could also wear a Peplos, which is a skirt, and a 
one-shoulder tunic.  Hope this helps!

Christine


In a message dated 1/25/03 5:31:21 PM Eastern Standard Time, mabse@attbi.com 
writes:

> I would like to consider having the readers in costume.  I think that that 
> would be fun, assuming that I can convince anybody to wear 
> costumes.  However, I don't have any idea what the ancient Greek women 
> would have been wearing.  I think that for the men it would be knee length 
> tunics and a toga, but what would the women have worn?  Did they wear 
> togas? Am I right about the men?


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Personally, I found Lysistrata to be incredibly entertaining, although I had a very old translation.&nbsp; Greek women often wore chitons.&nbsp; Homeric and Archaic periods included the Doric and Ionic chitons, which (according to the drawing I've got from a costuming book) are basically a drawstring skirt, embroidered or with a pattern down at the hem, and a tunic, the hem of which would also be embroidered/patterned.&nbsp; The Doric chiton seems to be belted, while the Ionic is left loose.&nbsp; They could also wear a Peplos, which is a skirt, and a one-shoulder tunic.&nbsp; Hope this helps!<BR>
<BR>
Christine<BR>
<BR>
<BR>
In a message dated 1/25/03 5:31:21 PM Eastern Standard Time, mabse@attbi.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I would like to consider having the readers in costume.&nbsp; I think that that <BR>
would be fun, assuming that I can convince anybody to wear <BR>
costumes.&nbsp; However, I don't have any idea what the ancient Greek women <BR>
would have been wearing.&nbsp; I think that for the men it would be knee length <BR>
tunics and a toga, but what would the women have worn?&nbsp; Did they wear <BR>
togas? Am I right about the men?</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT></HTML>
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From h-costume-admin@indra.com  Sat Jan 25 17:41:54 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Wearing 'off the shoulder' gowns question-was:1540's  Italian Dress
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Date: Sat, 25 Jan 2003 22:41:23 +0000 (GMT)
Status: RO

 --- Jean Waddie <anne@montgomerie.demon.co.uk> wrote: > Oh I'm so
disappointed!  We always reckoned that off-the-shoulder style 
> developed because the king required that all the ladies in waiting 
> should be ready to fall out of their dresses at a moment's notice :-)

Doesn't work Jean, I'm afraid it rrrreally doesn't work *grins* No
falling-out-of-dresses when the bodice is boned. Gosh I love that little mean
joke with the ogling boys 'oh please Nicole lean forward' sure I do/can! There
is no way anything moves even a millimetre. Those poor disappointed
hormone-driven sweeties. ;-)

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: Re: [h-cost] Elizabethan Patterns?
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Date: Sat, 25 Jan 2003 22:44:14 +0000 (GMT)
Status: RO

 
> while they look wonderful to work with, are just a little steep for a 
> starving college student.  Which I will be, in a short time!  Please note 
> that "options" does not include drafting my own patterns- I'm not at that 
> level yet!

Are you able to upscale patterns? Not quite drafting your own ones, but using
small scape patterns from books and then blowing them up and adjusting so to
speak. If yes, get Janet Arnold from the library and work with a small scale
pattern of this. If not, uhm, well, I wouldn't know where else to get a patterm
from, it's my one big problem too.

Nicole

=====
Nicole Kipar M.A.
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Email: nicole@kipar.org

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Lysistrata Project/Greek Costumes
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Date: Sat, 25 Jan 2003 15:56:09 -0700
Status: RO

I saw an absolutely fantastic production of Lysistrata done by the
Hamburg Opera Company in while living over there in 1972.  All the
costumes were done in leather-the curtain too!  The chorus were all 'old
people' with boobs and rolls of fat filled with rice.  The men had
bright red leather phalluses with a metal cap and black leather leggings
that looked like regular trousers from the front but were tied in the
back in the most strategic places!!

Fabulous costumes-oh and the music was great.  Sorry this probably
doesn't help Maryann much, but it was such a great memory!

I heard about this project on the news and am looking for someone local
to see it. 

Sg


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From: "Suzanne" <suzanne@grannd.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Zoot Suit pattern
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Date: Sat, 25 Jan 2003 18:01:53 -0500
Status: RO

Vogue has a fairly decent one that I've heard good things about from the
Zoot Suit crowd.

Suzanne
> ----- Original Message -----
> From: "Drea Leed" <drea@nospam>
> To: <h-costume@indra.com>
> Sent: Thursday, January 23, 2003 10:36 PM
> Subject: Re: [h-cost] CostumeCon 21
>
>
> > OK, I have in one fell swoop abandoned the idea for a crimson bias-cut
> > gown for the Friday night soiree (let's face it, these hips just don't
> > jibe with bias cut anything) and have done a complete about
> face: I'm now
> > looking for a good zoot suit pattern.  Anyone know of one?  I've heard
> > gail's rant about the Vogue pattern, so I'm a bit leery of that
> one.  Any
> > other ones you guys know of?
> >
> > Thanks,
> >
> > Drea the totally clueless when it comes to 30s dress
> _______________________________________________
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Elizabethan Patterns?
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Date: Sun, 26 Jan 2003 10:23:35 +1100 (EST)
Status: RO

 --- IceGirlNIN@aol.com wrote: > Hi all!
> 
> Could someone perhaps point me in the direction of a
> decent Elizabethan 
> (specifically royal) pattern for women?  I've found
> Margo Anderson's 
> patterns, and while they're lovely and very
> authentic (so it seems, anyhow, 
> from the glowing reviews), spending $75 on patterns
> for a single dress is not 
> something I want to do until I've exhausted all
> other options.  Her patterns, 
> while they look wonderful to work with, are just a
> little steep for a 
> starving college student.  Which I will be, in a
> short time!  Please note 
> that "options" does not include drafting my own
> patterns- I'm not at that 
> level yet!


Hi Christine,

what about Simplicity 8881?
<http://www.simplicity.com/assets/8881/8881.jpg>

It's not Margo's, but it's semi-decent. With a few
minor changes it could be reasonably authentic. Here's
Margo's review of this pattern:

<http://www.directcon.net/wander/simp.htm>

There are a few reviews three quarters of the way down
this page:
<http://www.gbacg.org/Patterns/simplicity.htm>


Good Luck!

Bella


http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: Re: [h-cost] Elizabethan Patterns?
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Date: Sat, 25 Jan 2003 18:29:10 -0500
Status: RO

        Bite the bullet and get Margo's patterns.  Maybe you can get just
the gown pattern for now, and work out the underwear and accessories from
instructions on the net and pictures.  I got the whole set and really
love it.  It is worth every penny.

Lalah
Never give up, Never surrender
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Subject: [h-cost] Question: Spiral lacing - which direction?
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I'm about to finish a pair of stays (late 16th c. - the pattern from Drea's
site with tabs) and I seem to remember reading here months ago that lacing
them from bottom to top makes them easier to put on, or something. Or was
that lacing top to bottom?

If anyone remembers the discussion I'm talking about let me know which way I
should lace these!

Thanks in advance,

Allison

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<P><FONT SIZE=3D2>I'm about to finish a pair of stays (late 16th c. - =
the pattern from Drea's site with tabs) and I seem to remember reading =
here months ago that lacing them from bottom to top makes them easier to =
put on, or something. Or was that lacing top to bottom?</FONT></P>

<P><FONT SIZE=3D2>If anyone remembers the discussion I'm talking about =
let me know which way I should lace these!</FONT>
</P>

<P><FONT SIZE=3D2>Thanks in advance,</FONT>
</P>

<P><FONT SIZE=3D2>Allison</FONT>
</P>

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From h-costume-admin@indra.com  Sat Jan 25 19:29:56 2003
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Subject: Re: [h-cost] Question: Spiral lacing - which direction?
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Question: Spiral lacing - which direction?I have found over the years =
that whichever way you lace the "extra bits" that you are compressing =
will travel.  Me, I lace bottom to top-- I just don't need the extra =
around my already ample hips and waist.

YMMV

Lyn Greaves
Lady Rosamund d'Alwareton
COM, COTerpsichore, COSalamander



  ----- Original Message -----=20
  From: A.Thurman=20
  To: h-costume@indra.com=20
  Sent: Saturday, January 25, 2003 7:24 PM
  Subject: [h-cost] Question: Spiral lacing - which direction?


  I'm about to finish a pair of stays (late 16th c. - the pattern from =
Drea's site with tabs) and I seem to remember reading here months ago =
that lacing them from bottom to top makes them easier to put on, or =
something. Or was that lacing top to bottom?

  If anyone remembers the discussion I'm talking about let me know which =
way I should lace these!=20

  Thanks in advance,=20

  Allison=20

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD><TITLE>Question: Spiral lacing - which direction?</TITLE>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1126" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I have found over the years that =
whichever way you=20
lace the "extra bits" that you are compressing will travel.&nbsp; Me, I =
lace=20
bottom to top-- I just don't need the extra around my already ample hips =
and=20
waist.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>YMMV</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>Lyn Greaves<BR>Lady Rosamund d'Alwareton<BR>COM, COTerpsichore,=20
COSalamander</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>&nbsp;</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=3Dathurman@cybergal.com=20
  href=3D"mailto:athurman@cybergal.com">A.Thurman</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> Saturday, January 25, =
2003 7:24=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Question: =
Spiral lacing=20
  - which direction?</DIV>
  <DIV><BR></DIV><!-- Converted from text/plain format -->
  <P><FONT size=3D2>I'm about to finish a pair of stays (late 16th c. - =
the=20
  pattern from Drea's site with tabs) and I seem to remember reading =
here months=20
  ago that lacing them from bottom to top makes them easier to put on, =
or=20
  something. Or was that lacing top to bottom?</FONT></P>
  <P><FONT size=3D2>If anyone remembers the discussion I'm talking about =
let me=20
  know which way I should lace these!</FONT> </P>
  <P><FONT size=3D2>Thanks in advance,</FONT> </P>
  <P><FONT size=3D2>Allison</FONT> </P></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Chicago
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I have had the flu all week... so I had to get out today and go to the
movies.

I promised Angela when I saw Chicago I would comment.  I agree with Angela
about the vintage underpinnings when Roxie (Renee) shot her boyfriend.  I
came home and found them in a 1922 Martha Adams catalog.

I have a lot to say but I have to start with the #1 thing that really
bothered me about the film.  I hope and pray someone can prove me wrong
because I am having trouble with the thought that Colleen Atwood would make
such a big mistake.  Through-out the movie there were numerous close-ups of
dancers legs, including Catherine's with fishnet stockings in black and
white colors.  I came right home and checked three fashion dictionaries.
Two said the fishnets were popular in the 1960s-1980s.  Not one mention of
them being around in the 1920s.  I checked my  fashion dictionary from 1939.
Fishnets were mentioned as a weave for use in veils and hairnets... no
mention of stockings.  I checked through some of my magazines and catalogs
from the 1920s... no fishnet stockings.  So does someone have a source that
shows that fishnet stockings were used in the 1920s?

I like Angela question the dancers' costumes... they looked more like the
ones from the dance musicals of the late 30s/40s.  I just found the panty
cut hard to believe since swimsuit in the late 20s were just getting a
little high.  The corsets also seemed to be hitting high above the hips.

A hint before going to see the film... read the interview with Richard Gere
in this month's Reader's Digest BEFORE going to see the film.  This helps
you get over the shock of seeing him sing.  He is from a very talented
family of musicians.  So singing Broadway is new to him but singing in
general is not.  The one thing he had to learn to do this film was tap
dance.

Street clothes... these were done really well.  My all time favorite costume
was Catherine's courtroom appearance.  I have seen this look for the 1920s
several times in books and catalogs.

All of Renee's street costumes were very period, especially the court
costume.

Queen Lafitah's costume during her singing number reminded me so much of
Hollywood glamour in the 30s.  It was beautiful on her and she wore it well.
I think this is the prettiest I have ever seen her.

Hairstyles:
I adored Catherine's hairstyle and it was considered very fashionable in the
20s.  I just read this past week about this hairstyle. It was not supposed
to be lower than the jawline.

Renee's style was so early 1920s...very classic, with the finger waves.
When looking for the fishnets in catalogs, I came across wigs of Renee's
style.  I thought I was going to fall out of my seat laughing when I saw
Queen Lafitah had bleached her hair blonde and had the same style as
Renee's.

A couple of things to note about the film.  Catherine Zeta Jones was
pregnant during the filming.  You can tell the little tummy in some of the
dance shots.  I was a little disappointed in how little cleavage that Renee
really has.  I think I would have chosen some different stage costumes for
her to play it down.  When she was next to Catherine (who has plenty of
cleavage), it really takes away from Renee.... there is a reason the
Rockettes have to be a certain size.  It left me wondering... I thought I
had seen Renee at the Oscars with cleavage.... was she taped to death?

I really enjoyed the film but like Anglea, I am a sucker for musicals.  The
jailhouse tango was wonderful!

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
  ----- Original Message -----
  From: Cabbage Rose
  To: h-costume@indra.com
  Sent: Sunday, December 29, 2002 1:45 PM
  Subject: Re: [h-cost] Chicago


  Ok, Albert, I can't resist commenting!

  I went to see Chicago Friday night (limited release, twenty six miles from
my home, grrr.) and I felt it was amazing.  While I enjoyed the experience
of Moulin Rouge, I found little to amaze me other than some of the costumes,
which of course, I never really saw except for flashes anyway.  They were
fanciful, as was the movie, but back to Chicago...

  I just loved it.  I will say I love movie musicals and want them back.  I
grew up with the era of musicals, I produce musical theater and it's
something I think we miss in our culture.  That said, I hate the casting of
"stars" instead of singers to play in the few musicals that get produced.

  I had none of these problems once the film began to roll.  I love the
twenties (back to obligatory costume content) and the period was captured
beautifull. I do believe Ms. Zellwegger is wearing antique 20s underwear in
the scene where she shoots Frankie, her lover.  The dance costumes were just
well, to die for.  Colleen Atwood (Sleepy Hollow) took some really smashing
underwear details from the period and used them fancifully throughout her
dance costuming.  I wasnt' sure if the dance costumes were shorter than they
would have been (they looked almost like skaters costumes but way skimpier)
but I didn't care.

  The acting was outstanding.  Renee Zellwegger was the perfect 20s moll.
She was alternately ditsy and hard, but at all times very believable and I
wasn't busy thinking that's Renee Zellwegger, she was Roxie Hart.  In fact
she looked so 20s sleazy at the opening of the film I wasn't positive it was
even her.  Catherine Zeta-Jones is also very good, but not as believably
from the 20s.  There is a modern edge to her performance that is there, but
not enough to be distracting and they both sing and dance amazingly.  This
is not a show that calls for great voices and the really difficult numbers
were cut.  The 70s drek from the stage play isn't there, it's fresh and
amazing and Cell Block Tango was just breathtaking.  The
director/choreographer Rob Marshall did some outstanding work.  I went with
a friend who is an amazing choreographer and he was impressed and it takes a
lot to impress him with dance numbers.

  Even Richard Gere was completely believable as Billy Flynn.  The courtroom
tap dance scene may be my favorite courtroom scene of all time.  With it's
20s backdrop, the movie focuses on how fleeting fame is, how the
Star/Globe/Enquirer style of journalism glorifies some pretty nasty deeds
and of course, on how the lawyer uses dirty tricks to get them off in such a
way as to make it very topical for todays world.  There are so many
parallels to current headlines, it just worked on every level.  Most movies
disappoint me these days, but this one did not.  I'd be interested to know
if anyone else enjoyed it as much.

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

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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 5.50.4912.300" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>I have had the flu all week... so I had to get out today&nbsp;and =
go to the=20
movies.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I promised Angela when I saw Chicago I would comment.&nbsp; I agree =
with=20
Angela about the vintage underpinnings when Roxie (Renee)&nbsp;shot her=20
boyfriend.&nbsp; I came home and found them in a 1922 Martha Adams=20
catalog.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I have a lot to say but I have to start with the #1 thing that =
really=20
bothered me about the film.&nbsp; I hope and pray someone can prove me =
wrong=20
because I&nbsp;am having trouble with the thought that Colleen Atwood =
would make=20
such a big mistake.&nbsp; Through-out the movie there were numerous =
close-ups of=20
dancers legs, including Catherine's with fishnet stockings in black and =
white=20
colors.&nbsp; I came right home and checked three fashion =
dictionaries.&nbsp;=20
Two said the fishnets were popular in the 1960s-1980s.&nbsp; Not one =
mention of=20
them being around in the 1920s.&nbsp; I checked my &nbsp;fashion =
dictionary from=20
1939.&nbsp; Fishnets were mentioned as a weave&nbsp;for use =
in&nbsp;veils and=20
hairnets... no mention of&nbsp;stockings.&nbsp; I checked through some =
of my=20
magazines and&nbsp;catalogs from the 1920s... no fishnet =
stockings.&nbsp; So=20
does someone have a source that shows that fishnet stockings were used =
in the=20
1920s?</DIV>
<DIV>&nbsp;</DIV>
<DIV>I like Angela question the dancers' costumes... they looked more =
like the=20
ones from the dance musicals of the late 30s/40s.&nbsp; I just found the =
panty=20
cut hard to believe since swimsuit in the late 20s were just getting a =
little=20
high.&nbsp; The corsets also seemed to be hitting high above the=20
hips.&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>A hint before going to see the film... read the interview with =
Richard Gere=20
in this month's Reader's Digest&nbsp;BEFORE going to see the film.&nbsp; =
This=20
helps you get&nbsp;over the shock of&nbsp;seeing him sing.&nbsp; He is =
from a=20
very talented family of musicians.&nbsp; So singing Broadway is&nbsp;new =
to him=20
but singing in general is not.&nbsp; The one thing he had to learn to do =
this=20
film was tap dance.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Street clothes... these were done really well.&nbsp; My all time =
favorite=20
costume was Catherine's courtroom appearance.&nbsp; I have seen this =
look for=20
the 1920s several times in books and catalogs.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>All of Renee's street costumes were very period, especially the =
court=20
costume.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Queen Lafitah's costume during her singing number reminded me so =
much of=20
Hollywood glamour in the 30s.&nbsp; It was beautiful on her and she wore =
it=20
well.&nbsp; I think this is the prettiest I have ever seen her.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Hairstyles:</DIV>
<DIV>I adored&nbsp;Catherine's hairstyle and it was considered very =
fashionable=20
in the 20s.&nbsp; I just read this past week about this hairstyle. =
It&nbsp;was=20
not supposed to be lower than the jawline.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>Renee's style was so early 1920s...very classic, with the finger=20
waves.&nbsp; When looking for the fishnets in catalogs, I came across =
wigs of=20
Renee's style.&nbsp; I thought I was going to fall out of my seat =
laughing when=20
I saw Queen Lafitah had bleached her hair blonde&nbsp;and had the same =
style as=20
Renee's.</DIV>
<DIV>&nbsp;</DIV>
<DIV>A couple of things to note about the film.&nbsp; Catherine Zeta =
Jones was=20
pregnant during the filming.&nbsp; You can tell the little tummy in some =
of the=20
dance&nbsp;shots.&nbsp; I was a little disappointed in how little =
cleavage that=20
Renee really&nbsp;has.&nbsp; I think I would have chosen some different =
stage=20
costumes for her to play it down.&nbsp; When she was next to Catherine =
(who has=20
plenty of cleavage), it really takes away from Renee.... there is a =
reason the=20
Rockettes have to be a certain size.&nbsp; It left me wondering... I =
thought I=20
had seen Renee at the Oscars with cleavage.... was she taped to =
death?</DIV>
<DIV>&nbsp;</DIV>
<DIV>I really enjoyed the film but like Anglea, I am a sucker for=20
musicals.&nbsp; The jailhouse tango was wonderful!&nbsp; </DIV>
<DIV>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></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=3Dcabbagerose@sbcglobal.net=20
  href=3D"mailto:cabbagerose@sbcglobal.net">Cabbage Rose</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> Sunday, December 29, 2002 =
1:45=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] =
Chicago</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>Ok, Albert, I can't resist=20
  commenting!</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>I went to see Chicago Friday =
night (limited=20
  release, twenty six miles from my home, grrr.) and I felt it was=20
  amazing.&nbsp; While I enjoyed the experience of Moulin Rouge, I found =
little=20
  to amaze me other than some of the costumes, which of course, I never =
really=20
  saw except for flashes anyway.&nbsp; They were fanciful, as was the =
movie, but=20
  back to Chicago...</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>I just loved it.&nbsp; I will =
say I love=20
  movie musicals and want them back.&nbsp; I grew up with the era of =
musicals, I=20
  produce musical theater and it's something I think we miss in our=20
  culture.&nbsp; That said, I hate the casting of "stars" instead of =
singers to=20
  play in the few musicals that get produced.&nbsp; </FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>I had none of these problems =
once the film=20
  began to roll.&nbsp; I love the twenties (back to obligatory costume =
content)=20
  and the period was captured beautifull. I do believe Ms. Zellwegger is =
wearing=20
  antique 20s underwear in the scene where she shoots Frankie, her =
lover.&nbsp;=20
  The dance costumes were just well, to die for.&nbsp; Colleen Atwood =
(Sleepy=20
  Hollow) took some really smashing underwear details from the period =
and used=20
  them fancifully throughout her dance costuming.&nbsp; I wasnt' sure if =
the=20
  dance costumes were shorter than they would have been (they looked =
almost like=20
  skaters costumes but way skimpier) but I didn't care.&nbsp; =
</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>The acting was =
outstanding.&nbsp; Renee=20
  Zellwegger was the perfect 20s moll. She was alternately ditsy and =
hard, but=20
  at all times very believable and I wasn't busy thinking that's Renee=20
  Zellwegger, she was Roxie Hart.&nbsp; In fact she looked so 20s sleazy =
at the=20
  opening of the film I wasn't positive it was even her.&nbsp; Catherine =

  Zeta-Jones is also very good, but not as believably from the =
20s.&nbsp; There=20
  is a modern edge to her performance that is there, but not enough to =
be=20
  distracting and they both sing and dance amazingly.&nbsp; This is not =
a show=20
  that calls for great voices and the really difficult numbers were =
cut.&nbsp;=20
  The 70s drek from the stage play isn't there, it's fresh and amazing =
and Cell=20
  Block Tango was just breathtaking.&nbsp; The director/choreographer =
Rob=20
  Marshall did some outstanding work.&nbsp; I went with a friend who is =
an=20
  amazing choreographer and he was impressed and it takes a lot to =
impress him=20
  with dance numbers.</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>Even Richard Gere was completely =
believable=20
  as Billy Flynn.&nbsp; The courtroom tap dance scene may be my favorite =

  courtroom scene of all time.&nbsp; With it's&nbsp;20s backdrop, the =
movie=20
  focuses on how fleeting fame is, how the =
Star/Globe/Enquirer&nbsp;style of=20
  journalism glorifies some pretty nasty deeds and of course, on how the =
lawyer=20
  uses dirty tricks to get them off in such a way as to make it very =
topical for=20
  todays world.&nbsp; There are so many parallels to current headlines, =
it just=20
  worked on every level.&nbsp; Most movies disappoint me these days, but =
this=20
  one did not.&nbsp; I'd be interested to know if anyone else enjoyed it =
as=20
  much.</FONT></DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>angela</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>+++++<BR>Angela F. =
Lazear<BR>Cabbage Rose=20
  Costumes <BR><A=20
  =
href=3D"http://www.cabbagerosecostumes.com">http://www.cabbagerosecostume=
s.com</A><BR>Theatrical=20
  Costume Design</FONT></DIV></BLOCKQUOTE></BODY></HTML>

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One last thing... for photos from the film go to 
http://us.imdb.com/Gallery?0299658&source=ss

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


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<DIV>One last thing... for photos from the film go to </DIV>
<DIV><A=20
href=3D"http://us.imdb.com/Gallery?0299658&amp;source=3Dss">http://us.imd=
b.com/Gallery?0299658&amp;source=3Dss</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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Subject: Re: [h-cost] Chicago
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<<I have a lot to say but I have to start with the #1 thing that really =
bothered me about the film.  I hope and pray someone can prove me wrong =
because I am having trouble with the thought that Colleen Atwood would =
make such a big mistake.  Through-out the movie there were numerous =
close-ups of dancers legs, including Catherine's with fishnet stockings =
in black and white colors.  I came right home and checked three fashion =
dictionaries. >>

Is this during the flashy dance sequences? As I understand it there are =
a lot of fantasy sequences and if they only apear in those scenes then =
that'll be why they are used.

For the revival stage production of the late 90s (stilla round I think) =
they used a variety of very modern cut black costuming. It's probably a =
reference to the modern productions as well.

michaela
http://recital.tripod.com/costume


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<DIV dir=3Dltr>&lt;&lt;I have a lot to say but I have to start with the =
#1 thing=20
that really bothered me about the film.&nbsp; I hope and pray someone =
can prove=20
me wrong because I&nbsp;am having trouble with the thought that Colleen =
Atwood=20
would make such a big mistake.&nbsp; Through-out the movie there were =
numerous=20
close-ups of dancers legs, including Catherine's with fishnet stockings =
in black=20
and white colors.&nbsp; I came right home and checked three fashion=20
dictionaries.&nbsp;&gt;&gt;</DIV>
<DIV dir=3Dltr>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>Is this during the flashy =
dance sequences?=20
As I understand it there are a lot of fantasy sequences and if they only =
apear=20
in those scenes then that'll be why they are used.</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>For the revival stage =
production of the=20
late 90s (stilla round I think) they used a variety of very modern cut =
black=20
costuming. It's probably a reference to the modern productions as=20
well.</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2>michaela</FONT></DIV>
<DIV dir=3Dltr><FONT face=3DArial size=3D2><A=20
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></FONT></DIV>
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Subject: Re: [h-cost] Chicago
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Date: Sat, 25 Jan 2003 20:16:03 -0500
Status: RO

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Michaela,

They were used during almost all the dance scenes, and I recall Catherine in
street clothes wearing them.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
http://www.costumegallery.com
http://www.costumeclassroom.com
http://www.onlinecostumeball.com
  ----- Original Message -----
  From: michaela
  To: h-costume@indra.com
  Sent: Saturday, January 25, 2003 8:09 PM
  Subject: Re: [h-cost] Chicago


  <<I have a lot to say but I have to start with the #1 thing that really
bothered me about the film.  I hope and pray someone can prove me wrong
because I am having trouble with the thought that Colleen Atwood would make
such a big mistake.  Through-out the movie there were numerous close-ups of
dancers legs, including Catherine's with fishnet stockings in black and
white colors.  I came right home and checked three fashion dictionaries. >>

  Is this during the flashy dance sequences? As I understand it there are a
lot of fantasy sequences and if they only apear in those scenes then that'll
be why they are used.

  For the revival stage production of the late 90s (stilla round I think)
they used a variety of very modern cut black costuming. It's probably a
reference to the modern productions as well.

  michaela
  http://recital.tripod.com/costume


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<DIV>Michaela,</DIV>
<DIV>&nbsp;</DIV>
<DIV>They were used during almost all the dance scenes, and I recall =
Catherine=20
in street clothes wearing them.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></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=3Dthebruce@ihug.co.nz =
href=3D"mailto:thebruce@ihug.co.nz">michaela</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> Saturday, January 25, =
2003 8:09=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] =
Chicago</DIV>
  <DIV><BR></DIV>
  <DIV dir=3Dltr>&lt;&lt;I have a lot to say but I have to start with =
the #1 thing=20
  that really bothered me about the film.&nbsp; I hope and pray someone =
can=20
  prove me wrong because I&nbsp;am having trouble with the thought that =
Colleen=20
  Atwood would make such a big mistake.&nbsp; Through-out the movie =
there were=20
  numerous close-ups of dancers legs, including Catherine's with fishnet =

  stockings in black and white colors.&nbsp; I came right home and =
checked three=20
  fashion dictionaries.&nbsp;&gt;&gt;</DIV>
  <DIV dir=3Dltr>&nbsp;</DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2>Is this during the flashy =
dance=20
  sequences? As I understand it there are a lot of fantasy sequences and =
if they=20
  only apear in those scenes then that'll be why they are =
used.</FONT></DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2>For the revival stage =
production of the=20
  late 90s (stilla round I think) they used a variety of very modern cut =
black=20
  costuming. It's probably a reference to the modern productions as=20
  well.</FONT></DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2>michaela</FONT></DIV>
  <DIV dir=3Dltr><FONT face=3DArial size=3D2><A=20
  =
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></FONT></DIV>
  <DIV dir=3Dltr>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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Subject: Re: [h-cost] Golden Globe Fashion Bloopers
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Date: Sat, 25 Jan 2003 20:19:02 -0500
Status: RO

Nicole.... I loved the ballet shoes too!!!  I thought the bodice of the
costume needed to fit her better.

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: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Chicago
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Date: Sat, 25 Jan 2003 17:28:37 -0800
Status: RO

  So  does someone have a source
>that shows that fishnet stockings were used in the  1920s?   

I don't know about the 20's, but I know that fishnet tights were worn by
dancers long before the 60's, when a number of dancer's styles, like
colored tights,  became fashionable. I've seen them in dance photographs
from the 40's at least.  Dancer's fishnets were, and still are, made of
elastic.  One brand name was Lastex. The elastic tights give great support
and make the legs look fantastic, but they are hell on your toes! 

Before nylon ballet tights became avalable, ballet dancers wore expensive
silk tights that stretched and bagged, so some ballet dancers wore the
elastic tights over their pink silks tights to control the sagging.  

Most show dancers still wear fishnets. They come in black and flesh color
these days, and you can get them with or without back seams, and even with
rhinestones! 

 When I worked on a Vegas type revue show, we cut the waist bands off them,
trimmed them down to match the top line of the G-string costumes, and
threaded thin elastic through the tops. They only came in one shade of
"flesh", so we dyed them darker for the Black girls.  When they got holes
in them, we mended them by doing a tiny crochet stitch with a threaded
needle to make new bars in the mesh. What a chore. Finally our wardrobe
mistress had a talk with the dance captain, who explained to the girls that
this was something a prefessional dancer should do herself, and we taught
the girls how to take care of their own tights. 

Margo


"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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Date: Sat, 25 Jan 2003 20:35:48 EST
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I take it these are expensive tights, then?  Since you went to all of the 
trouble of those little crochet stitches to repair them, that is.  Thank 
goodness I'm not a dancer!

Christine

In a message dated 1/25/03 8:26:27 PM Eastern Standard Time, 
margo@margospatterns.com writes:

> When I worked on a Vegas type revue show, we cut the waist bands off them,
> trimmed them down to match the top line of the G-string costumes, and
> threaded thin elastic through the tops. They only came in one shade of
> "flesh", so we dyed them darker for the Black girls.  When they got holes
> in them, we mended them by doing a tiny crochet stitch with a threaded
> needle to make new bars in the mesh. What a chore. Finally our wardrobe
> mistress had a talk with the dance captain, who explained to the girls that
> this was something a prefessional dancer should do herself, and we taught
> the girls how to take care of their own tights. 
> 
> 


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I take it these are expensive tights, then?&nbsp; Since you went to all of the trouble of those little crochet stitches to repair them, that is.&nbsp; Thank goodness I'm not a dancer!<BR>
<BR>
Christine</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
In a message dated 1/25/03 8:26:27 PM Eastern Standard Time, margo@margospatterns.com writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">When I worked on a Vegas type revue show, we cut the waist bands off them,<BR>
trimmed them down to match the top line of the G-string costumes, and<BR>
threaded thin elastic through the tops. They only came in one shade of<BR>
"flesh", so we dyed them darker for the Black girls.&nbsp; When they got holes<BR>
in them, we mended them by doing a tiny crochet stitch with a threaded<BR>
needle to make new bars in the mesh. What a chore. Finally our wardrobe<BR>
mistress had a talk with the dance captain, who explained to the girls that<BR>
this was something a prefessional dancer should do herself, and we taught<BR>
the girls how to take care of their own tights. <BR>
<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT></HTML>
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From h-costume-admin@indra.com  Sat Jan 25 20:38:50 2003
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Subject: Re: [h-cost] Chicago
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Date: Sat, 25 Jan 2003 17:38:49 -0800
Status: RO

I costumed Cabaret two years ago, and I purchased stockings from the late
twenties for the show, which were very close to a fishnet weave, but flesh
colored, so they definately existed then in some form, although they are not
exactly what you'd see today.  I don't have my research handy, but there
were a good variety of woven stockings in burlesque in the twenties.  I also
utilized several of the vintage peach colored standard underwear/slips that
Ms. Zellwegger wore in the scene where she bumps off her lover.  I got a
kick out of that.  I thought the costumes for that movie were brilliant.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
http://www.cabbagerosecostumes.com
Theatrical Costume Design
"If to do were as easy as to know what were good to do,
chapels had been churches,
and poor men's cottages princes' palaces."
The Merchant of Venice, I, ii - William Shakespeare


----- Original Message -----
From: "Margo Anderson" <margo@margospatterns.com>
To: <h-costume@indra.com>; <h-costume@indra.com>
Sent: Saturday, January 25, 2003 5:28 PM
Subject: Re: [h-cost] Chicago


>   So  does someone have a source
> >that shows that fishnet stockings were used in the  1920s?
>
> I don't know about the 20's, but I know that fishnet tights were worn by
> dancers long before the 60's, when a number of dancer's styles, like
> colored tights,  became fashionable. I've seen them in dance photographs
> from the 40's at least.  Dancer's fishnets were, and still are, made of
> elastic.  One brand name was Lastex. The elastic tights give great support
> and make the legs look fantastic, but they are hell on your toes!
>
> Before nylon ballet tights became avalable, ballet dancers wore expensive
> silk tights that stretched and bagged, so some ballet dancers wore the
> elastic tights over their pink silks tights to control the sagging.
>
> Most show dancers still wear fishnets. They come in black and flesh color
> these days, and you can get them with or without back seams, and even with
> rhinestones!
>
>  When I worked on a Vegas type revue show, we cut the waist bands off
them,
> trimmed them down to match the top line of the G-string costumes, and
> threaded thin elastic through the tops. They only came in one shade of
> "flesh", so we dyed them darker for the Black girls.  When they got holes
> in them, we mended them by doing a tiny crochet stitch with a threaded
> needle to make new bars in the mesh. What a chore. Finally our wardrobe
> mistress had a talk with the dance captain, who explained to the girls
that
> this was something a prefessional dancer should do herself, and we taught
> the girls how to take care of their own tights.
>
> Margo
>
>
> "One Tough Costumer"
>
>
> See the newly updated Historic Costume Patterns website at
> margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-admin@indra.com  Sat Jan 25 20:50:42 2003
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Date: Sat, 25 Jan 2003 20:41:19 -0500
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Background on the story of Chicago can be found at:
http://movie-reviews.colossus.net/movies/c/chicago.html

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: "Kim Baird" <kbaird@cableone.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Lysistrata Project/Greek Costumes
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Date: Sat, 25 Jan 2003 16:37:42 -0600
Status: RO

Greeks didn't wear togas, the Romans did.

And I think you need masks for Greek drama.

Kim

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
Behalf Of MaryAnn Jones
Sent: Saturday, January 25, 2003 4:25 PM
To: h-costume@indra.com
Subject: [h-cost] Lysistrata Project/Greek Costumes

Hi - I hope that this post doesn't offend anyone.  It is much more 
political in nature than most are.  If it does, please ignore the
political 
content and just address the costume content and accept my apologies.

I want to have the co-housing community that I live in participate in
the 
Lysistrata Project.  This (and here comes the political content) is a 
project to have readings of Lysistrata on March 3rd all over the world
to 
protest the possibility of war.

I would like to consider having the readers in costume.  I think that
that 
would be fun, assuming that I can convince anybody to wear 
costumes.  However, I don't have any idea what the ancient Greek women 
would have been wearing.  I think that for the men it would be knee
length 
tunics and a toga, but what would the women have worn?  Did they wear 
togas? Am I right about the men?

I appreciate any information anyone can give me.  If anyone is in the 
Sacramento area and would like to attend, let me know, probably off the 
list at mabse@attbi.com.  thanks, maryann

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I think the use of masks depends on the type of drama, or the play itself.  
Many Greek plays had the chorus wearing masks, but not the main actors.  
Something like the Agamemnon probably wouldn't have had masks.  Masks have 
potential, though.  You could have one of the men wear, say, a "Bush" mask, 
or a "Powell" mask.  Heck, you could have one of them carry around 
shrubbery...

Christine

In a message dated 1/25/03 9:07:37 PM Eastern Standard Time, 
kbaird@cableone.net writes:

> Greeks didn't wear togas, the Romans did.
> 
> And I think you need masks for Greek drama.
> 


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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I think the use of masks depends on the type of drama, or the play itself.&nbsp; Many Greek plays had the chorus wearing masks, but not the main actors.&nbsp; Something like the Agamemnon probably wouldn't have had masks.&nbsp; Masks have potential, though.&nbsp; You could have one of the men wear, say, a "Bush" mask, or a "Powell" mask.&nbsp; Heck, you could have one of them carry around shrubbery...<BR>
<BR>
Christine</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=1 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BR>
In a message dated 1/25/03 9:07:37 PM Eastern Standard Time, kbaird@cableone.net writes:<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"></FONT><FONT  COLOR="#282828" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Greeks didn't wear togas, the Romans did.<BR>
<BR>
And I think you need masks for Greek drama.<BR>
</BLOCKQUOTE><BR>
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From: "Diane M. Mathews" <camelothorse@earthlink.net>
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Subject: Re: [h-cost] Elizabethan Patterns?
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Date: Fri, 24 Jan 2003 15:07:52 -0600
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Just a little side note about Margo's patterns.   It is not just  " a "  =
pattern.   It entails EVERYTHING from the chemise, farthingale, bum =
roll, to the outer garments in multiple sizes and multiple countries.  =
She includes all of the accessories like hats, purses,  etc.   What you =
get in Margo's patterns would cost you at least twice as much  " if " =
you could find the patterns with someone else.  AND--- on top of =
everything else----they are historically correct with great instructions =
that are easy to follow !!   NO--I do not get any kind of commission or =
money for promoting Margo's patterns but---I did buy her patterns and =
have been using them for my Elizabethan's and I am EXTREMELY happy with =
them !!  If you can come up with the money for Margo's pattern, I do not =
believe you will be disappointed.   I will go back into lurk mode now.

Diane
  ----- Original Message -----=20
  From: IceGirlNIN@aol.com=20
  To: h-costume@indra.com=20
  Sent: Saturday, January 25, 2003 12:23 AM
  Subject: [h-cost] Elizabethan Patterns?


  Hi all!

  Could someone perhaps point me in the direction of a decent =
Elizabethan (specifically royal) pattern for women?  I've found Margo =
Anderson's patterns, and while they're lovely and very authentic (so it =
seems, anyhow, from the glowing reviews), spending $75 on patterns for a =
single dress is not something I want to do until I've exhausted all =
other options.  Her patterns, while they look wonderful to work with, =
are just a little steep for a starving college student.  Which I will =
be, in a short time!  Please note that "options" does not include =
drafting my own patterns- I'm not at that level yet!


  Christine 
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2800.1106" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Just a little side note about Margo's=20
patterns.&nbsp;&nbsp; It is not just&nbsp; " a "&nbsp; =
pattern.&nbsp;&nbsp; It=20
entails EVERYTHING from the chemise, farthingale, bum roll, to the outer =

garments in multiple sizes and multiple countries.&nbsp; She includes =
all of the=20
accessories like hats, purses,&nbsp; etc.&nbsp;&nbsp; What you get in =
Margo's=20
patterns would cost you at least twice as much&nbsp; " if " you could =
find the=20
patterns with someone else.&nbsp; AND--- on top of everything =
else----they are=20
historically correct&nbsp;with great instructions that are easy to =
follow=20
!!&nbsp;&nbsp; NO--I do not get any kind of commission or money for =
promoting=20
Margo's patterns but---I did buy her patterns and have been using them =
for my=20
Elizabethan's and I am EXTREMELY happy with them !!&nbsp; If you can =
come up=20
with the money for Margo's pattern, I do not believe you will be=20
disappointed.&nbsp;&nbsp; I will go back into lurk mode =
now.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Diane</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=3DIceGirlNIN@aol.com=20
  href=3D"mailto:IceGirlNIN@aol.com">IceGirlNIN@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> Saturday, January 25, =
2003 12:23=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Elizabethan=20
  Patterns?</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D3=20
  FAMILY=3D"SANSSERIF">Hi all!<BR><BR>Could someone perhaps point me in =
the=20
  direction of a decent Elizabethan (specifically royal) pattern for=20
  women?&nbsp; I've found Margo Anderson's patterns, and while they're =
lovely=20
  and very authentic (so it seems, anyhow, from the glowing reviews), =
spending=20
  $75 on patterns for a single dress is not something I want to do until =
I've=20
  exhausted all other options.&nbsp; Her patterns, while they look =
wonderful to=20
  work with, are just a little steep for a starving college =
student.&nbsp; Which=20
  I will be, in a short time!&nbsp; Please note that "options" does not =
include=20
  drafting my own patterns- I'm not at that level=20
  yet!<BR><BR><BR>Christine</FONT> </FONT></BLOCKQUOTE></BODY></HTML>

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Apparently, I should buy Madame Margo's patterns.  <g>  Now, question: How 
much would someone pay me, to make a full Elizabethan ensemble for them?  I 
need to "justify" the expenditure.  As for instructions: do I get nice 
"insert tab A into slot B" instructions with illustrations?  I'm an idiot 
sometimes, so I need visuals.  Mostly because I occasionally panic, and then 
the dress ends up being able to fit me, my mom, my dad, and my cat, all at 
once.  

Christine

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Apparently, I should buy Madame Margo's patterns.&nbsp; &lt;g&gt;&nbsp; Now, question: How much would someone pay me, to make a full Elizabethan ensemble for them?&nbsp; I need to "justify" the expenditure.&nbsp; As for instructions: do I get nice "insert tab A into slot B" instructions with illustrations?&nbsp; I'm an idiot sometimes, so I need visuals.&nbsp; Mostly because I occasionally panic, and then the dress ends up being able to fit me, my mom, my dad, and my cat, all at once.&nbsp; <BR>
<BR>
Christine</FONT></HTML>

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From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Lysistrata Project/Greek Costumes
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Date: Sat, 25 Jan 2003 19:09:14 -0800
Status: RO

At 2:24 PM -0800 1/25/03, MaryAnn Jones wrote:

>I would like to consider having the readers in costume.  I think 
>that that would be fun, assuming that I can convince anybody to wear 
>costumes.  However, I don't have any idea what the ancient Greek 
>women would have been wearing.  I think that for the men it would be 
>knee length tunics and a toga, but what would the women have worn? 
>Did they wear togas? Am I right about the men?

The basic structural concept behind classical Greek costume is 
incredibly simple, but a lot of stylistic variation comes from what 
you do with it.  And this is going to be rather oversimplified.

For men, it's probably safest to stick to the styles starting with a 
short-sleeved, knee-length "t-tunic".  Younger men might wear a 
relatively short rectangular cloak pinned around this; older men 
might wear a longer draped garment that you'd need to see diagrams to 
follow.  (It's different in structure from toga, but the general 
overall concept is similar.)

For women, the basic garment is a loose tube of fabric, somewhat 
longer than from the shoulders to the ground (depending on the 
style).  This is pinned on the shoulders (or in some styles, with a 
wider tube, pinned in several places along the arms).  The various 
main styles differ in things like whether the excess length is dealt 
with by folding down some portion of the top and fastening the 
shoulders through the folded edge, or by belting it to floor-length 
and letting the excess drape loosely at the waist (which may then 
have a second belt over the drape).  Women may also wear a long, 
rectangular wrap in various ways.

Another poster suggested constructing the women's dress in two parts, 
as a separate skirt and tunic, but I don't believe such an 
interpretation has a historic basis, although it might work 
theatrically.

Books on historic theater costuming will often give step-by-step 
diagrams for draping Greek clothing (and given the simplicity of the 
cut, they're less likely to steer you wrong than for many other eras).

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] Elizabethan Patterns?
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Date: Sat, 25 Jan 2003 21:25:58 -0600
Status: RO

There is a lady in our barony that wanted the same thing. She was determined
to use the simplicity pattern for her dress. With the help of 2 other ladies
they created the dress she wanted. Each of them brought in an expertise that
she needed to make the entire dress from top to bottom. When she showed up
at 12th night in that dress it was the hit of the night!

My point is, yes, you can make what you need using any pattern, cheap or
expensive, but if you want to take it slow at first it is ok. Let your
friends help you. Later on you will see the merits for getting Margo's
patterns. I totally understand having to work up to it.

I have her patterns, lucky to have gotten in at the ground level and gotten
for a much lower price. But time has not allowed me to break them out yet. I
feel very lucky to have them! :)

On the flip side, I have all the other Elizabethan patterns by the big
commercial makers. They are the best for getting your feet wet and creating
something fast and dirty if you have no time at all.

But your here on this list and asking for our help. Let us help you with
your end choice, ask lots of questions, go to the archives and search for
specific questions cause believe me, we have heard almost all of them. :)

Do not be shy here, ask, ask, ask!!!

Also, I believe there is a yahoo list for Elizabethan as well that you may
be able to search the archive of without having to subscribe. Great info!!
:)

Good luck!

Sincerely,
Chiara
Ansteorra, Steppes
Not all ermine spots are created equally

----- Original Message -----
From: <IceGirlNIN@aol.com>
To: <h-costume@indra.com>
Sent: Saturday, January 25, 2003 12:23 AM
Subject: [h-cost] Elizabethan Patterns?


> Hi all!
>
> Could someone perhaps point me in the direction of a decent Elizabethan
> (specifically royal) pattern for women?  I've found Margo Anderson's
> patterns, and while they're lovely and very authentic (so it seems,
anyhow,
> from the glowing reviews), spending $75 on patterns for a single dress is
not
> something I want to do until I've exhausted all other options.  Her
patterns,
> while they look wonderful to work with, are just a little steep for a
> starving college student.  Which I will be, in a short time!  Please note
> that "options" does not include drafting my own patterns- I'm not at that
> level yet!
>
>
> Christine
>

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From h-costume-admin@indra.com  Sat Jan 25 23:30:22 2003
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Subject: [h-cost] What he's up 2 now!
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Date: Sat, 25 Jan 2003 23:28:22 -0500
Status: RO

Well... at least this time he told me in advance this time.  My 17 y.o. son
Patrick, the theater techie, has taken up something new.  His Algebra
teacher has started a knitting club at the high school.  Patrick is the only
guy with 14 girls in the club.  No, he didn't go to the club for the girls.
He sincerely wants to learn to knit.  His theater production teacher came
back to school after Christmas with a knitted cap that his mother made as a
present.  All the students went crazy about the cap.  So the Algebra teacher
said she would start a knitting club and teach the students how to knit
it... BUT they had to learn all the stitches for knitting to be in the club.
So these 15 kids are staying after school to learn to knit.

Patrick is teaching me what he has learned.  I always wanted to learn to
knit.  It looks so far, a lot easier than cotton thread crochet.  He seems
to love knitting... he walks around the house with his yarn and needles.

At least this time Patrick told me he was learning something... since I
found out at Christmas that he had been sewing on machine for two years at
school.

BTW... return to an old topic.... one of my 11 y.o. daughter's girl friends
keeps asking to come over to the house to watch me quilt.  She said her
mother won't teach her to sew.  She sits on the sidelines and puts the pins
back in the cushion for me as I am quilting.  This makes my daughter's blood
boil... she is not very patient at sewing and wants her friend to play with
her.

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, 26 Jan 2003 06:53:34 -0700
Status: RO

My dad taught me how to sew and knit.  (He was the Chair of a Theater
Dept).  He could look at a garment and reconstruct it.  He played piano
beautifully by ear and taught tap dancing lessons too!! 

Your son has an interesting life ahead of him!!

Sg



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From h-costume-admin@indra.com  Sun Jan 26 13:50:04 2003
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Subject: [h-cost] Vienna Opera Ball - ballgown styles?
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Date: Sun, 26 Jan 2003 13:52:56 -0500
Status: RO

Hi!

My name's Michiko and I'm new to the list - thanks for letting me be here! :)

Just found out I've got a rare opportunity to attend the Opera Ball 
in Vienna on Feb 27th, and I'm trying to learn as much as possible, 
as quickly as possible, about the era (I believe their website lists 
mid-late 1800s as the time period) in order to design and make 
something for it.

I've got a stack of library books here on costume from that period, 
but am noticing that things are listed as Victorian or Edwardian 
etc....and is that (this is perhaps a really dumb question :) only 
for English styles around that time?

Is there a good book or film or website that you might want to 
recommend, specifically showing Vienna waltz ballgowns from that era? 
I know 'mid-late 1800s' is quite a range, and am trying to hone in 
better on a look as well...but am so far a bit overwhelmed (in a good 
way of course - such great stuff to look at! But...time is ticking 
away... :)

I'm tempted to think Amadeus but their site said something along the 
lines of 'not so much boob' :) and I'm not sure if the looks was 
extravagant (shiny satins?) or more demure (whether I could put a 
twist on it by doing up a fancy dress style and keeping it muslin? Or 
is that a tired idea? :) I have some jpgs for reference but am not 
sure whether they're historically accurate (have a sense they're more 
wedding gowns inspired by the period than remaining accurate to it) 
and would be happy to attach those (they're small files) if anyone'd 
like to have a look and a comment, but I didn't want to spam you with 
them, thanks!

I'm located in Manhattan and am new to designing/making costumes (I'm 
a professional illustrator/character designer), I hope these aren't 
super-naive questions. I'd love any tips or leads you might care to 
offer, and thanks so much for taking the time to read this.

Hope you're all having a great weekend!

Best regards,
Michiko

-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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From h-costume-admin@indra.com  Sun Jan 26 14:29:46 2003
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Subject: Re: [h-cost] Vienna Opera Ball - ballgown styles?
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Date: Sun, 26 Jan 2003 11:59:12 -0700
Status: RO

on 1/26/03 11:52 AM, michiko at michiko@michiko.com wrote:

> Hi!
> 
> My name's Michiko and I'm new to the list - thanks for letting me be here! :)
> 
> Just found out I've got a rare opportunity to attend the Opera Ball
> in Vienna on Feb 27th, and I'm trying to learn as much as possible,
> as quickly as possible, about the era (I believe their website lists
> mid-late 1800s as the time period) in order to design and make
> something for it.

This is the era of the Hapsbergs.  I would do a search on the internet and
in libraries for info from this period.  And I'm sure someone on this list
is more knowledgeable than I am that will provide you with more help.
> 

> 
> I'm tempted to think Amadeus

Amadeus is 1700s, not 1800s.

Sylvia Rognstad
-- 
Divinity Designs and Emeralds
http://www.d-e-designs.com



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From h-costume-admin@indra.com  Sun Jan 26 16:19:56 2003
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Date: Sun, 26 Jan 2003 16:18:03 -0500
Status: RO

        I would say top to bottom.  My corset is top to bottom in the
back and I don't have anyone to help me get into it.  I leave it laced
loose, step into it and then pull it tight.  I don't think I could do it
from the top.  From the bottom it isn't all that easy, but it does get
done and I wrap the ribbons around my waist and tie them in the front. 
Lacing in the front would be easier, but I don't think it would look
right.

Lalah
Never give up, Never surrender
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Date: Sun, 26 Jan 2003 19:08:01 -0500
Status: RO



I haven't seen "Chicago" yet -- I saw a stage production some years ago and
thought it was bizarre, but after all the buzz I think I'll see the movie.
But on the subject of authenticity, I don't recall the women singing in a
1920s style in either the production I saw or any of the "revue" type things
I have ever seen, including the recent Kennedy Center Honors on television,
which showed someone singing "All that Jazz." Women in the 1920s had a
distinctive singing style and that sure isn't it!

On the subject of tights, I remember reading in Margot Fonteyne's
autobiography that when dancers wore silk tights, they had to fix all the
runs in them. They were so expensive that there was no throwing them away
until they had been mended so many times that they looked awful! She
described doing it, and I think she talked about using little crochet hooks
to pullthe lost stitches up the "ladders," but I don't remember exactly.
Anyone interested could look it up!

Gail Finke



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Date: Sun, 26 Jan 2003 19:12:55 -0500
Status: RO


Michiko:

"Amadeus" is too early for you. I know there's a good visual history book of
dancing clothes, I'll get the title for you tomorrow. But in the meantime,
look up books about the composers of the time (R. Strauss and Franz Lehar
are best to start with). They should show pictures of the balls, and that
will show you the look you're going for.

Gail Finke


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Subject: Re: [h-cost] Question: Spiral lacing - which direction?
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Date: Mon, 27 Jan 2003 16:34:45 +1300
Status: RO

>         I would say top to bottom.  My corset is top to bottom in the
> back and I don't have anyone to help me get into it.  I leave it laced
> loose, step into it and then pull it tight.  I don't think I could do it
> from the top.

I've heard of people lying on a bed and pulling the lacing up that way;)
Apparently it helps to lace as gravity helps pull things in the direction
you want it too, and also in getting htings to lift.

I lace bottom to top for the uplift thing, but that's from the front wheere
you can pull and fit as you go. I'm thinking lacing from top to bottom in
back is better as you will not be able to do that lace a few rings/eyelets,
tighten, lace a few more etc.

No I'm not talking about getting the ToaP look;) Just a better shape;)

michaela
http://recital.tripod.com/costume



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Subject: Re: [h-cost] Zoot Suit pattern
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Date: Sun, 26 Jan 2003 23:55:50 -0500
Status: RO

I think the concern about that pattern is not so much the look as the
instructions. Something about the zipper instructions being wrong, and the
rest being unclear, so if you've never sewn a pair of pants before, you
might need a good book to complement the pattern instructions.

But I do think the look is great!

----- Original Message -----
From: "Suzanne" <suzanne@grannd.com>


> Vogue has a fairly decent one that I've heard good things about from the
> Zoot Suit crowd.
>
> Suzanne
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Date: Mon, 27 Jan 2003 01:43:40 -0500
Status: RO

On Friday 24 January 2003 01:03 am, Pierre & Sandy Pettinger wrote:
> Robin,
> For the wig, at least, you can try Lacey Costume Wigs in New York
> City.  They have a huge selection of styles, REALLY cheap.  I don't think
> they have a web site,  and I don't have my catalog handy (anyone else,
> maybe?) but you should be able to get their phone number from directory
> assistance, if nothing else.  We haven't ordered from them in a year or so,
> but they always remember our (infrequent) orders.  Very nice people.  When
> last we ordered, I think their most expensive wig (other than the real
> human hair ones) was about $50, and that was for the super-elaborate Marie
> Antionette with tons of rolls and curls.  Most are $10 or $15 or less.
>

I agree with Pierre and Sandy about the quality of their service though they 
tend to be kind of abrupt on the phone (real New Yorkers).  

Also, if they have the design you want in stock, they ship promptly and you 
receive it quickly--I don't think I've ever waited more than three days for 
an item I ordered from them (of course, I live in Pennsylvania).

So far as I can tell they still don't have a Web stie you can order through, 
but this site gives their phone number so you can ask for a catalog.

http://www.toydirectory.com/LaceyCostumeWig/\

Good luck!

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Subject: [h-cost] Wealth of med/ren links
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Date: Mon, 27 Jan 2003 08:31:01 +0100
Status: RO

Oh boy, don't know if this link is common knowledge

http://www.lib.byu.edu/~rdh/eurodocs/medren.html

I just found it and don't even have time at the moment to look through it to
all but there are links listed that have costuming content. It is a page
with links to online manuscripts. One is for Les très riches heures du duc
de Berry with nice pics

And then there's the Cely Papers:
http://www.r3.org/bookcase/cely/index.html

The letters of a wool merchant family 1475-1488

Oh this page - oh yummy!

Cass :)

 


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Date: Mon, 27 Jan 2003 11:52:46 +0000 (GMT)
Status: RO

I don't know if anyone pointed you to the following web site for the Lysistrata
project, but I just came across this:

http://www.greyhawkes.com/blacksword/Spartan%20Combat%20Arts%202001/1-Pages/HowTo/Clothing/Chiton.htm

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Date: Mon, 27 Jan 2003 16:22:35 +0000
Status: RO

Thanks all for your help on my question about Greek costumes.  I have a better 
idea of what needs to be done now.  

On to another period though.  I want to do some slashing for my elizabethan 
costume.  I got some black silk and some copper silk and I want to slash the 
black and have the copper show through.  It will go on one of those brocades you 
can get on e-bay.  It is a copper and black acetate brocade with a sort of 
celtic cross pattern.  I would like to see some examples of what it looks like 
though.  I have my own ideas of how to do it, but I am not sure if they are 
correct.  If anyone has  any pictures to which they can point me I would 
appreciate it.  thanks, maryann
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Subject: [h-cost] Elizabethan Patterns?
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Date: Mon, 27 Jan 2003 11:56:56 EST
Status: RO


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Hi Christine,

You dont say what you're making the dress for, but if price is a factor and 
strict authenticity is not, I'd go for the simplicity pattern.  At Joanns or 
Hancock you can get simplicity patterns for 1/2 off and even 1.99 or 99 cents 
if there is a sale on.

Also given the help available online for making that pattern more authentic 
(Bella had all the links), you can make it get by the authenticity folks in a 
pinch.

I should say I own margo's patttern and love it, I think it's lovely and very 
well sized -- I needed no alterations.  But it's also not for the beginner, 
and maybe a bit more than you want to spend if you only plan on ever doing 
one eliz. costume ever...

Just my 2 cents,  Cheers,

Loren

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
Hi Christine,<BR>
<BR>
You dont say what you're making the dress for, but if price is a factor and strict authenticity is not, I'd go for the simplicity pattern.&nbsp; At Joanns or Hancock you can get simplicity patterns for 1/2 off and even 1.99 or 99 cents if there is a sale on.<BR>
<BR>
Also given the help available online for making that pattern more authentic (Bella had all the links), you can make it get by the authenticity folks in a pinch.<BR>
<BR>
I should say I own margo's patttern and love it, I think it's lovely and very well sized -- I needed no alterations.&nbsp; But it's also not for the beginner, and maybe a bit more than you want to spend if you only plan on ever doing one eliz. costume ever...<BR>
<BR>
Just my 2 cents,&nbsp; Cheers,<BR>
<BR>
Loren</FONT></HTML>

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Subject: Re: [h-cost] Re: Fabric identification...
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Date: Mon, 27 Jan 2003 13:30:52 -0500
Status: RO

I just want to thank everyone for your advice on fabric identification. And
to let you know the results :-)

The microscope was not clear enough - I mean that I don't have enough
experience to really tell them apart. I looked at some rayon fibers I
grabbed during my last trip to the fabric store, and I looked at some cotton
I had here, and I looked at some linen I had, and I still couldn't decide
what the mystery fabric was! I decided that, since it was all natural fibers
anyway and it was really cheap, I would go and buy some anyway.

The lady at the store thought it was a cotton-linen blend, but, if it is,
there's more linen in it than cotton (I manipulated enough linen to usually
be able to recognize it just by touching it). It shed like crazy in the
drier after I washed it, just like real linen does. And I had to crank the
iron almost to the highest setting to get the wrinkles out. I think that's a
very good sign ;-P

BTW, if you have a fabric sample you really need to get identified, just
send it to Dylon, the dye company - they'll do it for free!
(www.dylon.co.uk)
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Subject: [h-cost] Thanks for the Vienna info! Also: wig examination offer (heh),
 men's Frocks in Austria?, ToaP  :)
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Date: Mon, 27 Jan 2003 15:21:46 -0500
Status: RO

Hi everyone!

Thanks so much for the leads on the Hapsburgs and to try looking up 
the composers of the period -- about to start off on my hunt but 
wanted to pop in first and say hello!

Also, got this info off the Lacy Wig site you provided (thanks 
Cathy!) and just wanted to mention that since I'm in NYC (albeit not 
walking distance from their location) that if anyone from outside of 
NYC needed me to go in and have a look at the wigs for them (i.e. if 
the Lacey staff are being too terse and Noo Yawkerish for your tastes 
:), let me know! I'm curious about their wigs now (obsessed with 
Vienna research now, though I may just be doing up my own hair) and 
will probably go in to check it out in the next few weeks and can get 
you info at the same time, if you need it.

I know you all have the link from Cathy but here's their contact info 
anyway - just passing it along:

Lacey's Costume Wig
505 8TH AVE. 11TH FL NEW YORK NY 10018
Fax: 212-695-3860
Toll Free: 800-562-9911
(no website that we know of)


As far as the Vienna Opera Ball on Feb 27th, I'm also told the 
gentleman (i.e. my mysterious, as-yet-unnamed date) must wear a 
'frock' - German for tails (black and white), with white gloves, and 
non-rubber soled dancing shoes. Um, okay. "Butterfly' (whatever this 
is?), vest, jacket, striped pants. I'll of course be looking this up 
and checking with tux rental stores (my friend adamantly emphasizes 
this is not a tux however) and well, it's a bit harrowing because the 
'dress code' provided by the  Vienna Opera Ball folks is vague and in 
German as well, and they apparently have a knack for sending crucial 
information to the wrong address...in the wrong country... :) We have 
our entrance tickets confirmed, and a seat (paid for ala carte at 
these fancy dress ball things) but because of a missed deadline 
(notice having been sent to the wrong country by snail mail) we have 
4 people without a...table. Chair paid for, but no table :) Anyway, 
just thought you might enjoy that little adventure in the works...

Anyway, if anyone has expert knowledge on mens' outfit that would be 
great, but meantime I'll continue poking around, and wanted to say 
thank you again for the great info so far!

(And yes, oops, Amadeus is indeed too early - thanks!)

What's the "ToaP look" Michaela, by the way? (In reference to 
bottom-to-top lacing or top-to-bottom lacing of corsets?) Of course, 
I'm guessing all sorts of random stuff, but haven't come up with 
anything worth mentioning! ;)

Thanks all, and hope you're staying warm! (Snow in NYC today)


Best,
Michiko
-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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  offer (heh), men's Frocks in Austria?, ToaP  :)
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Date: Mon, 27 Jan 2003 12:43:21 -0800
Status: RO

At 03:21 PM 01/27/2003 -0500, michiko wrote:

>As far as the Vienna Opera Ball on Feb 27th, I'm also told the 
>gentleman (i.e. my mysterious, as-yet-unnamed date) must wear a 
>'frock' - German for tails (black and white), with white gloves, and 
>non-rubber soled dancing shoes. Um, okay.

What you want to ask for at formal stores is "white tie".  tell them you
want the most classic, traditional version, so they don't stick you with
one of those hideous modern interpretations of formal that the people who
go to awards shows think are attractive.  The most classic version is also
likely to be the least expensive to rent.

Margo

 
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
margospatterns.com
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From: Claire Clarke <Lady_Angharad@bigpond.com>
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Subject: Re: [h-cost] Question: Spiral lacing - which direction?
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Date: Tue, 28 Jan 2003 08:11:07 -0800
Status: RO



Lalah T Tillinghast wrote:

>         I would say top to bottom.  My corset is top to bottom in the
> back and I don't have anyone to help me get into it.  I leave it laced
> loose, step into it and then pull it tight.  I don't think I could do it
> from the top.  From the bottom it isn't all that easy, but it does get
> done and I wrap the ribbons around my waist and tie them in the front.
> Lacing in the front would be easier, but I don't think it would look
> right.
>
>

I've always laced bottom to top, mainly, as Michaela says, to get the
breasts
in the right place, although since I've had a baby and have a bit more tummy

I've been wondering if doing it the other way might be helpful in that
respect.
But, being well endowed at both ends, I think starting off would be tricky
in
either way. I don't find it too hard to lace at the back if the lace is long
enough
and the corset/bodice isn't too low-necked at the back. You lace it loose,
as
you've said or put it on loose back-to-front, and then wriggle into it. Then
you
just have to tighten it, and knot it off. It helps of course that I am
reasonably
flexible with long arms, so there's no spot on my back that I can't reach.
How is side-back lacing on the DIY front, for those who've tried it? I've
done straight side lacing, and that is definitely better top to bottom, as
standing
there fiddling about in your armpit trying to undo a cord that's gotten all
knotted
is a pain.
Claire


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From h-costume-admin@indra.com  Mon Jan 27 16:25:56 2003
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From: Katy Bishop <vintage@shore.net>
To: michiko <michiko@michiko.com>
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Subject: Re: [h-cost] Thanks for the Vienna info! Also: wig examination offer
 (heh), men's Frocks in Austria?, ToaP  :)
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Date: Mon, 27 Jan 2003 16:23:38 -0500 (EST)
Status: RO


Hi, just jumping in here, a break from sewing eyelettes on a ballgown
bodice.

We are actually preparing to take part in a 19th century vintage dance
conference in Vienna Feb 3-8.  I am so excited, I have always wanted to
waltz in Vienna (my mother's hometown).  There will be dance classes all
day and 2 balls in palaces, as well as a performance of the Magic Fluite
at the State Opera!  If only I can get everything into my suitcase.  I
am madly sewing an 1830's gown for the Biedermeier ball (in blue/gold
shot taffeta), and getting my 1860's gown ready for the Strauss ball.
For this Strauss ball people are mostly doing 1860's and 1890's, since
that's what they have.

I would suggest last quarter of the 19th century for your event.  If you
wish you can check out our dance groups website for pics of 1860's and
1890's balls, and my website for gowns and costume advice for those
periods.  I could email you some images (fashion plates) if you decide
which decade appeals to you.

www.vintagedancers.org
www.vintagevictorian.com

re men's wear, tailcoat sounds right, might want to investigate making a
vest, or getting one a cut above the average off the rack tux shop vest.

Hope this helps.

Katy, Vienna or bust

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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From: "Rowena" <sleepyunicorn@citlink.net>
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Subject: [h-cost] Re: Munich catalog
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Date: Mon, 27 Jan 2003 16:33:15 -0500
Status: RO

It arrived!!!!    Thank you, Cass!    Textile Schatze aus Renaissance und
Barock is here!!!

I can't read a word of it, but the pictures, as advertised by your wonderful
commentary, are just awesome!

But can anyone tell me what the things on pages 162 - 163 are?
Rowena, in upstate NY

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From h-costume-admin@indra.com  Mon Jan 27 16:51:30 2003
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To: h-costume@indra.com
Subject: Re: [h-cost] Re: Munich catalog
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Date: Mon, 27 Jan 2003 22:49:41 +0100
Status: RO

They are linnen tassels.
You can see them hanging under the white collars in the painting on page 
161.

Greetings,
        Deredere

Rowena wrote:

>It arrived!!!!    Thank you, Cass!    Textile Schatze aus Renaissance und
>Barock is here!!!
>
>I can't read a word of it, but the pictures, as advertised by your wonderful
>commentary, are just awesome!
>
>But can anyone tell me what the things on pages 162 - 163 are?
>Rowena, in upstate NY
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>



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Subject: Re: [h-cost] Re: Munich catalog
From: Cassandra Greer <cassandra@greer.de>
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Date: Mon, 27 Jan 2003 22:50:36 +0100
Status: RO

YIPPY!!!!

I was starting to get worried myself!

> It arrived!!!!    Thank you, Cass!    Textile Schatze aus Renaissance und
> Barock is here!!!
> 
> I can't read a word of it, but the pictures, as advertised by your wonderful
> commentary, are just awesome!
> 
> But can anyone tell me what the things on pages 162 - 163 are?
> Rowena, in upstate NY
Those are 'Leinenquasten' or linen tassles (of the funkiest kind) - from
around 1630. Hmm lets see if I can get some scanned and put on my mac site -
it will take a few minuts because there's something funny coming on TV in a
minute (that I want to see :)

Cass :)

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: chicago, tights
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Date: Mon, 27 Jan 2003 13:52:56 -0800
Status: RO


>On the subject of tights, I remember reading in Margot Fonteyne's
>autobiography that when dancers wore silk tights, they had to fix all the
>runs in them. They were so expensive that there was no throwing them away
>until they had been mended so many times that they looked awful! She
>described doing it, and I think she talked about using little crochet hooks
>to pullthe lost stitches up the "ladders," but I don't remember exactly.
>Anyone interested could look it up!

You pull one lost stitch up thru the next one, and that one up thru the 
next, and so on, till you get to the top of the 'ladder', then you sew it 
firmly so it doesn't come out there again.  It's like knitting one stitch, 
and you can do this with a crochet hook.


Kayta

    //// \\\
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   (((  <> ))))
      )   ((((((
/----\   /---\))

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] slashing
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Date: Mon, 27 Jan 2003 14:07:52 -0800
Status: RO


>On to another period though.  I want to do some slashing for my elizabethan
>costume.  I got some black silk and some copper silk and I want to slash the
>black and have the copper show through.  It will go on one of those 
>brocades you
>can get on e-bay.  It is a copper and black acetate brocade with a sort of
>celtic cross pattern.  I would like to see some examples of what it looks 
>like
>though.  I have my own ideas of how to do it, but I am not sure if they are
>correct.  If anyone has  any pictures to which they can point me I would
>appreciate it.

If you just slice a slit in fabric, nothing will show thru.  The term 
'slashing' is misleading here.  'Slashing' that does allow the inner fabric 
to show thru the outer fabric is done with panes of the outer fabric, not 
by just making slits in the outer fabric.  The pattern-of-little-slits 
technique is usually referred to as 'pinking', and nothing shows thru the 
little slits.  And if you want little puffs of the inner fabric to get 
pulled thru the outer fabric, you need to deal with the edges of the holes 
you pull the inner fabric thru, so no raw edges show.

Kayta

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To: h-costume@indra.com
Subject: Re: [h-cost] Thanks for the Vienna info! Also: wig examination offer (heh), men's Frocks in Austria?, ToaP  :)
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Date: Mon, 27 Jan 2003 15:55:49 -0600
Status: RO


On Mon, 27 Jan 2003 15:21:46 -0500 michiko <michiko@michiko.com> writes:
 
> Also, got this info off the Lacy Wig site you provided (thanks 
> Cathy!) and just wanted to mention that since I'm in NYC (albeit not 
> walking distance from their location) that if anyone from outside of 
> NYC needed me to go in and have a look at the wigs for them (i.e. if 
> the Lacey staff are being too terse and Noo Yawkerish for your 
> tastes :), let me know! I'm curious about their wigs now (obsessed with

> Vienna research now, though I may just be doing up my own hair) and 
> will probably go in to check it out in the next few weeks and can 
> get you info at the same time, if you need it.

I am very interested in this company and would love to know if their
quality is good. If you could take a bit of an exploratory expedition
there just to see what they are like, I'd love to hear a report. 

Karen

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From h-costume-admin@indra.com  Mon Jan 27 17:41:23 2003
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Subject: Re: [h-cost] Munich catalog - Blackwork and Tassles
From: Cassandra Greer <cassandra@greer.de>
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Date: Mon, 27 Jan 2003 23:38:54 +0100
Status: RO

HI!

I have scanned and published some new pictures on my Mac site:

http://homepage.mac.com/cassandragreer/PhotoAlbum7.html

I had promised to scan some Blackwork for someone - and totally forgot - but
here it is finally. There are also a couple Tassles for those who are
interested.

Cass :)

>> 
>> I can't read a word of it, but the pictures, as advertised by your wonderful
>> commentary, are just awesome!
>> 
>> But can anyone tell me what the things on pages 162 - 163 are?
>> Rowena, in upstate NY
> Those are 'Leinenquasten' or linen tassles (of the funkiest kind) - from
> around 1630. Hmm lets see if I can get some scanned and put on my mac site -
> it will take a few minuts because there's something funny coming on TV in a
> minute (that I want to see :)
> 
> Cass :)
> 

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Date: Mon, 27 Jan 2003 14:59:00 -0800
Status: RO

In the last month, someone posted information about a place selling 
really nice, high-end woolen fabrics. I did not save the info (bad Liz, 
no biscut!) and would be grateful if someone would resend the info.
I am looking for 100% 'tropical weight' worsted wool suiting.

Thanks!
Liz
lizyoung@fenris.net

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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] good source for wool?
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Date: Mon, 27 Jan 2003 15:11:17 -0800
Status: RO


>In the last month, someone posted information about a place selling really 
>nice, high-end woolen fabrics. I did not save the info (bad Liz, no 
>biscut!) and would be grateful if someone would resend the info.
>I am looking for 100% 'tropical weight' worsted wool suiting.

Is 'tropical weight' really thin?  And is Pendleton high-end enough?  Try 
calling the Pendleton Wool outlet in Washugal, WA, whose number you can get 
from the 800-number directory.  They ship.


Kayta

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Date: Mon, 27 Jan 2003 15:15:08 -0800
Status: RO

>In the last month, someone posted information about a place selling really 
>nice, high-end woolen fabrics. I did not save the info (bad Liz, no 
>biscut!) and would be grateful if someone would resend the info.
>I am looking for 100% 'tropical weight' worsted wool suiting.

I've seen great wool at www.fashionfabricsclub.com.  Lots of wool and different weights.

Colleen

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From: "Glenda Robinson" <glendar@compassnet.com.au>
To: <h-costume@indra.com>
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Subject: Re: [h-cost] What he's up 2 now!
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Date: Tue, 28 Jan 2003 10:19:48 +1100
Status: RO

Hi Penny,
re: Patrick's knitting lessons

Very cool!

You may be able to show/find someone else to show him how to felt, then he
can make some really cool felted knitted caps - they can get some really
great shapes, and look wonderful.

I learned from a hazy description from a friend, did a sample square to see
how much the felting would change the wool I was using, and made a lovely
arming cap for under Wayne's 17th century morion in a couple of evenings.

There are some really cool designs from the 16th/17th century that are quite
high crowned, and I think they'd fit into the fashions of today well.

Glenda.

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Subject: Re: [h-cost] good source for wool?
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Date: Mon, 27 Jan 2003 16:59:17 -0800
Status: RO

Thanks, but this was a specific on-line (?) vendor, not Pendelton or 
fashionfabricsclub. It was someone I hadn't heard of before. I remember 
one of the early posts stated that the prices might be more than most of 
us wanted to spend but one/several people then said that they did have 
need of expensive woolens sometimes.
Isn't it funny what we remember and don't?

Liz

Colleen McDonald wrote:

>>In the last month, someone posted information about a place selling really 
>>nice, high-end woolen fabrics. I did not save the info (bad Liz, no 
>>biscut!) and would be grateful if someone would resend the info.
>>I am looking for 100% 'tropical weight' worsted wool suiting.
>>    
>>
>
>I've seen great wool at www.fashionfabricsclub.com.  Lots of wool and different weights.
>
>Colleen
>
>_______________________________________________
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>  
>

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Subject: [h-cost] Philadelphia...
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Date: Mon, 27 Jan 2003 17:18:17 -0800
Status: RO

I'll be in Philadelphia in mid-March. I'm wondering if there are any 
must-see locations. I absolutely intend to go to the Mutter Museum, 
and i've already been to Independence Hall.

Museums, galleries, collections? Restaurants (my daughter is a 
vegetarian)? Shopping for costuming and/or food specialties (without 
a car)?

Thanks,

Anahita
living in the San Francisco Bay Area
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Date: Mon, 27 Jan 2003 17:32:05 -0800
Status: RO

On Mon, 27 Jan 2003 15:11:17 -0800 Carolyn Kayta Barrows <kayta@frys.com>
writes:
> 
> >In the last month, someone posted information about a place selling 
> really 
> >nice, high-end woolen fabrics. I did not save the info (bad Liz, no 
> 
> >biscut!) and would be grateful if someone would resend the info.
> >I am looking for 100% 'tropical weight' worsted wool suiting.
> 
> Is 'tropical weight' really thin?  And is Pendleton high-end enough? 
>  Try 
> calling the Pendleton Wool outlet in Washugal, WA, whose number you 
> can get 
> from the 800-number directory.  They ship.


And their prices are phenomenal.  Here's the local number in case there's
not an 800:

360-835-1118, then just ask for fabric.
 
HTH--
 
LuAnn (12 miles from the outlet--woohoo!)
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Subject: [h-cost] Laceys costume wigs
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Date: Mon, 27 Jan 2003 21:22:19 EST
Status: RO


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I love Lacey's!  Most of the costume wigs I've bought have, even when 
purchased thru another source, turned out when I saw their tags to have come 
from Lacey's.  The point about abruptness is dead on, but don't let their 
phone manner fool you, they have great service and great products.  
Unfortunately the catalog isn't the greatest, it's all rather cartoon-y line 
drawings, and therefore somewhat hard judge exactly what the wig will look 
like.  Ask folks who've ordered from them for suggestions as to which style 
will be right for your use.  And if there is a choice chose the pricier 
version. 

The alonge and deluxe alonge are among my favorites, good for 17th/18th c 
depending on how you style it.  I've combed out the top of one of these and 
gotten a really nice late 1700s look - the giant pouf on top with long curls 
hanging down a la "Jefferson in Paris." 

Another good wig co. is Garland wigs, they have a website with actual photos: 
garlandbty.com      NO www
but if I remember correctly you can't order online.  The Mae wig is a nice 
versatile one that you can style a multitude of ways.

Happy hair shopping.  Cheers,

Loren

--part1_f2.28663299.2b67435b_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
I love Lacey's!&nbsp; Most of the costume wigs I've bought have, even when purchased thru another source, turned out when I saw their tags to have come from Lacey's.&nbsp; The point about abruptness is dead on, but don't let their phone manner fool you, they have great service and great products.&nbsp; Unfortunately the catalog isn't the greatest, it's all rather cartoon-y line drawings, and therefore somewhat hard judge exactly what the wig will look like.&nbsp; Ask folks who've ordered from them for suggestions as to which style will be right for your use.&nbsp; And if there is a choice chose the pricier version. <BR>
<BR>
The alonge and deluxe alonge are among my favorites, good for 17th/18th c depending on how you style it.&nbsp; I've combed out the top of one of these and gotten a really nice late 1700s look - the giant pouf on top with long curls hanging down a la "Jefferson in Paris." <BR>
<BR>
Another good wig co. is Garland wigs, they have a website with actual photos: garlandbty.com&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NO www<BR>
but if I remember correctly you can't order online.&nbsp; The Mae wig is a nice versatile one that you can style a multitude of ways.<BR>
<BR>
Happy hair shopping.&nbsp; Cheers,<BR>
<BR>
Loren</FONT></HTML>

--part1_f2.28663299.2b67435b_boundary--
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Subject: Re: [h-cost] Philadelphia...
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Date: Mon, 27 Jan 2003 21:28:54 -0500
Status: RO

I didn't do the usual tourist thing in Phillie.  But I had a blast!  I went
to the Franklin Mint Museum.  They have the Princess Di Elvis dress there.
The amount of pearls on it is unbelievable.  Then we ate lunch at American
Bandstand.  They have a lot of Rock and Roll costumes there.  It is a fun
atmosphere.  Both places let you take lots of photos.

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: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] good source for wool?
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Date: Mon, 27 Jan 2003 20:25:35 -0800
Status: RO

To the EVIL people who sent me to the Pendleton Outlet in Washougal...
Well, your karma will get you for that!
	Actually, there are two Pendleton outlet stores in the Portland/Washougal
area.  The second is behind the GoodWill As is store on McLaughlin a sort
way north of Mill Ends Fabric and on the other side of the road.  This store
carries different wool fabric, heavier, and fabric that is made to look like
the Pendleton Blankets.  The regular wools run from $10 a yard there, the
blanket look alikes run $57.00 a yard - fortunately, not period enough
patterns to worry us about.
	The wool yardage at the Washougal store runs $3-6.00 a yard and is limited
selection to "what you see is what you get".
	Just for grins and giggles, there is a Pendleton outlet at the woolen mills
in Pendleton, Oregon too!  Fabric for around $10.00 a yard there, and lots
of different blankets since this is the mill where they primarily make those
blankets (which are about $155 for a second if you can find one, $255 for a
first!)
	Also try www.Phoenixtextiles.com .  Having bought some of their "Northwest
woolens" I have grave suspicions that some are actually Pendleton without
the brand name.  Nothing else feels like Pendleton in my opinion.  Those
people weave and full their fabric to a far tighter textile than other wools
I have found, even when they are so light that you can see through them.  If
you check, they actually weigh more per yard than most other woolens.
	I mention this because I grew up in Pendleton, OR, and a trip to the mills
was pretty common if you wanted to make something that would last.  My
uncle's shirts came from such yardage.  Made in 1930, and passed on to my
brother in 1959 with only minor wear except on the cuffs.

Regina

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of Carolyn Kayta Barrows
Sent: Monday, January 27, 2003 3:11 PM
To: h-costume@indra.com
Subject: Re: [h-cost] good source for wool?



>In the last month, someone posted information about a place selling really
>nice, high-end woolen fabrics. I did not save the info (bad Liz, no
>biscut!) and would be grateful if someone would resend the info.
>I am looking for 100% 'tropical weight' worsted wool suiting.

Is 'tropical weight' really thin?  And is Pendleton high-end enough?  Try
calling the Pendleton Wool outlet in Washugal, WA, whose number you can get
from the 800-number directory.  They ship.


Kayta

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Date: Mon, 27 Jan 2003 23:22:56 -0500
Status: RO

Thank you to everyone for your suggestions.  I was really surprised by all
the answers.  I will be trying some of the inexpensive ones first.  I have
an exercise ball.  My doctor is also working on getting me a tens unit.

I did see the kneeling chair in Office Max.  I tried it out and it did make
my back feel good.  I am scared that it will bother my feet.  I am having a
lot of problems with them.

Many thanks again,
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, 28 Jan 2003 01:05:25 -0600 (CST)
Status: RO


On Fri, 24 Jan 2003, Pierre & Sandy Pettinger wrote:

> For the wig, at least, you can try Lacey Costume Wigs in New York 
> City.  They have a huge selection of styles, REALLY cheap.

Many thanks! This actually sounds manageable.

I'm doing '60s Mod for the social (I will look marginally less awful in
that than I would in '20s) and my hair will be the least period-looking
part of me -- too curly and too long. I refuse to either cut it or (the
period solution) iron it :-O but if I could get a cheap wig in a flip
style or something similar, I'm in business.

I've never worn a wig, and I have a ton of hair to stuff under it. Does
that affect sizing? Any tips?

And while we're asking around, anybody have a pair of white, pink, or
orange go-go boots in a size 8-1/2? :-)

--Robin


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From h-costume-admin@indra.com  Tue Jan 28 03:04:14 2003
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Date: Tue, 28 Jan 2003 09:04:22 +0100
Status: RO


--------------060206020801010701000603
Content-Type: text/plain; charset=us-ascii; format=flowed
Content-Transfer-Encoding: 7bit

Hi,

I love that black "lace" on the edges of the rufs!
How can you make it?
I think I saw something in a book but I can't remember where and can't 
find it in the books I have.
If anyone can send me an explenation of how to make it, I would be very 
happy..

Greetings,
            Deredere

Cassandra Greer wrote:

>HI!
>
>I have scanned and published some new pictures on my Mac site:
>
>http://homepage.mac.com/cassandragreer/PhotoAlbum7.html
>
>I had promised to scan some Blackwork for someone - and totally forgot - but
>here it is finally. There are also a couple Tassles for those who are
>interested.
>
>Cass :)
>
>  
>
>>>I can't read a word of it, but the pictures, as advertised by your wonderful
>>>commentary, are just awesome!
>>>
>>>But can anyone tell me what the things on pages 162 - 163 are?
>>>Rowena, in upstate NY
>>>      
>>>
>>Those are 'Leinenquasten' or linen tassles (of the funkiest kind) - from
>>around 1630. Hmm lets see if I can get some scanned and put on my mac site -
>>it will take a few minuts because there's something funny coming on TV in a
>>minute (that I want to see :)
>>
>>Cass :)
>>
>>    
>>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>


--------------060206020801010701000603
Content-Type: text/html; charset=us-ascii
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<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
  <meta http-equiv="Content-Type" content="text/html;charset=ISO-8859-1">
  <title></title>
</head>
<body>
Hi,<br>
<br>
I love that black "lace" on the edges of the rufs!<br>
How can you make it?<br>
I think I saw something in a book but I can't remember where and can't find
it in the books I have.<br>
If anyone can send me an explenation of how to make it, I would be very happy..<br>
<br>
Greetings,<br>
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Deredere<br>
<br>
Cassandra Greer wrote:<br>
<blockquote type="cite" cite="midBA5B738E.9CB5%25cassandra@greer.de">
  <pre wrap="">HI!

I have scanned and published some new pictures on my Mac site:

<a class="moz-txt-link-freetext" href="http://homepage.mac.com/cassandragreer/PhotoAlbum7.html">http://homepage.mac.com/cassandragreer/PhotoAlbum7.html</a>

I had promised to scan some Blackwork for someone - and totally forgot - but
here it is finally. There are also a couple Tassles for those who are
interested.

Cass :)

  </pre>
  <blockquote type="cite">
    <blockquote type="cite">
      <pre wrap="">I can't read a word of it, but the pictures, as advertised by your wonderful
commentary, are just awesome!

But can anyone tell me what the things on pages 162 - 163 are?
Rowena, in upstate NY
      </pre>
    </blockquote>
    <pre wrap="">Those are 'Leinenquasten' or linen tassles (of the funkiest kind) - from
around 1630. Hmm lets see if I can get some scanned and put on my mac site -
it will take a few minuts because there's something funny coming on TV in a
minute (that I want to see :)

Cass :)

    </pre>
  </blockquote>
  <pre wrap=""><!---->
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  </pre>
</blockquote>
<br>
</body>
</html>

--------------060206020801010701000603--


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] good source for wool?
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Date: Tue, 28 Jan 2003 02:30:45 -0600 (CST)
Status: RO


On Mon, 27 Jan 2003, Elizabeth Young wrote:

> Thanks, but this was a specific on-line (?) vendor, not Pendelton or
> fashionfabricsclub. It was someone I hadn't heard of before. I
> remember one of the early posts stated that the prices might be more
> than most of us wanted to spend but one/several people then said that
> they did have need of expensive woolens sometimes.

That may have been what I posted on December 12, under the subject line
"High-end wools". You can probably find the thread in the archives by now
if you want to read the conversation again -- I have the impression that
this vendor sells only "to the trade," but then, they don't have a minimum
cut, so you might be able to get what you need. URL is:

http://www.grabiewoolen.com/

I don't gather that they have an online business, but they've posted their
range, and you can inquire, get sample cards, etc.

I inquired specifically about twill weaves in worsteds. The owner's son
replied that they have these 2x2 twills in 100% Australian merino worsted
wool: Gabardine, Flannel, Satin Gabardine, Cavalry, Twill and Satin Twill.
Prices are $25.00 - $27.50 per yard for cut pieces (2 to 85 yards) and
$l5.68 to $l8.33 for full bolts (80-85 yards).

As for Fashion Fabrics Club, we have some great worsteds in men's tropical
weight at the store right now, and on sale, but only a few colors on hand.
If you need navy, black, grey, or camel in not too large a quantity, I can
probably fix you up; email me directly.

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Subject: Re: [h-cost] Question: Spiral lacing - which direction?
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Date: Tue, 28 Jan 2003 22:44:41 +1300
Status: RO

> I've always laced bottom to top, mainly, as Michaela says, to get the
> breasts
> in the right place, although since I've had a baby and have a bit more
tummy

hehe, I have practically no bust so I do it so everything South heads
north;) And on a similar vein.. I read a comment about (I think) Vivian
Leigh in GwtW, about how difficult it was to get cleavage in costumes for
her. Not only was she modestly endowed (not talking nothing, but also not
ample) but her rib cage was so round so there was a gap that was really
difficult to well.. fill. I have the same probs. Makes for a lot of
adjusting back stage. I was once cast as a woman whos cleavage is commented
on... required much padding and much altering of bras to get anything. And
liberal use of bronzing powder;)

>  It helps of course that I am reasonably
> flexible with long arms, so there's no spot on my back that I can't reach.

There was a time I could even hook up a long 1840s bodice up my back. Sadly
those days are now gone.. ah well.

> How is side-back lacing on the DIY front, for those who've tried it? I've
> done straight side lacing, and that is definitely better top to bottom, as
> standing
> there fiddling about in your armpit trying to undo a cord that's gotten
all
> knotted
> is a pain.


hehe, I haven't tried lacing bottom to top on my side lacing... but yeah I
can see how it would be difficult;)

michaela
http://recital.tripod.com/costume



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Subject: Re: [h-cost] Re: chicago, tights
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Date: Tue, 28 Jan 2003 22:46:44 +1300
Status: RO

> >Anyone interested could look it up!
> You pull one lost stitch up thru the next one, and that one up thru the
> next, and so on, till you get to the top of the 'ladder', then you sew it
> firmly so it doesn't come out there again.  It's like knitting one stitch,
> and you can do this with a crochet hook.

Yep. I have a ballet costuming book from the 1950s that has that explains
it.

As well as how to make a tutu and a knitted leotard;)

Actually it has a lot of useful info in it.

michaela
http://recital.tripod.com/costume



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Date: Tue, 28 Jan 2003 06:26:58 -0500
Status: RO


----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Tuesday, January 28, 2003 4:44 AM
Subject: Re: [h-cost] Question: Spiral lacing - which direction?


.. I read a comment about (I think) Vivian
> Leigh in GwtW, about how difficult it was to get cleavage in costumes for
> her. Not only was she modestly endowed (not talking nothing, but also not
> ample) but her rib cage was so round so there was a gap that was really
> difficult to well.. fill.

I read something one time  (probably apocryphal) about when they costuming
Miss Leigh for the movie. Laurence Olivier was watching as they taped and
taped to get her some cleavage. After a while, he commented, "And all this
time, I thought they were perfectly lovely."

I also have a big ribcage (small boned everywhere else, so can't blame my
weight problems on being big boned!) and a wide space between my very
average size breasts. Getting cleavage is far from easy!

Dianne

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From h-costume-admin@indra.com  Tue Jan 28 06:46:29 2003
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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Date: Tue, 28 Jan 2003 11:47:12 +0000 (GMT)
Status: RO

I got sent this and thought it might be of interest to those on the list.

Rachel

http://cphpost.periskop.dk/default.asp?id=27289

By Christopher Follett
24. januar 2003 Print Article  (IE & NS 4+)

--------------------------------------------------------------------------
Original seventh century Viking manor house building unearthed west of
Copenhagen.


Archaeologists excavating Denmark's most important site - a huge Viking
manor house complex on Lake Tissø, west of Copenhagen - are gleaning key
information about the life style of the Norse elite over one thousand years
ago.

The 2002 dig at the site, located north of the town of Slagelse in west
Zealand, Denmark's largest island on which Copenhagen is situated, ended in
December with the sensational discovery of the foundations of a manor house
building dating back to 500-600 AD - the original building on the site.


=====
Rachel

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

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From: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
To: Blackwork List <blackwork@yahoogroups.com>,
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Subject: [h-cost] 16C Clothing & Culture. - V&A Museum
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Date: Tue, 28 Jan 2003 11:58:36 +0000 (GMT)
Status: RO

Just a heads up for anyone who is interested.  The living history group I belong to "The Tudor
Group" is putting on an exhibit at the V&A Musuem on the 22nd and 23rd of March 2003.  I'll be
doing my embroidery but there is lots more as described below from our website
(www.tudorgroup.co.uk):

16C Clothing & Culture.
Presentations throughout the museum on The Elizabethans, covering - A Tailors Workshop;
embroiderers'; Spinners; Braiders; Music; Dance; Clothing and other aspects of period life.
Also includes Perrotts Puppet Players(16C Puppeteers).

Rachel

=====
Rachel

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

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Date: Tue, 28 Jan 2003 07:07:14 -0500
Status: RO

On Mon, 27 Jan 2003 16:59:17 -0800, Elizabeth Young <lizyoung@fenris.net> 
wrote:

>Date:
>From:
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>Subject: Re: [h-cost] good source for wool?
>References: <A2F924FDD3D70E4A96CFD73B7196A00303D17AAD@WDNE2K.mackie.com>
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>
>Thanks, but this was a specific on-line (?) vendor, not Pendelton or 
>fashionfabricsclub. It was someone I hadn't heard of before. I remember 
>one of the early posts stated that the prices might be more than most of 
>us wanted to spend but one/several people then said that they did have 
>need of expensive woolens sometimes.
>Isn't it funny what we remember and don't?

Could it have been:

>Date: Thu, 12 Dec 2002 14:31:14 -0600 (CST)
>From: Robin Netherton <robin@shell.nightowl.net>
>To: Historic Costume List <h-costume@indra.com>
>Subject: [h-cost] High-end wools
>Reply-To: h-costume@mail.indra.com
>
>I lately stumbled on a trade source (New York) of some really
>lovely-looking wool fabric. It's out of my price range, but if anyone is
>doing high-end reproductions or museum work and needs the perfect
>color/weave, you might find it here:
>http://www.grabiewoolen.com/
>I inquired specifically about twill weaves in worsteds. The owner's son
>replied that they have these 2x2 twills in 100% Australian merino worsted
>wool: Gabardine, Flannel, Satin Gabardine, Cavalry, Twill and Satin Twill.
>Prices are $25.00 - $27.50 per yard for cut pieces (2 to 85 yards) and
>$l5.68 to $l8.33 for full bolts (80-85 yards).



Brenda
webwarren@earthlink.net


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Subject: Re: [h-cost] 16C Clothing & Culture. - V&A Museum
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Date: Tue, 28 Jan 2003 13:41:58 -0000
Status: RO

Rachel wrote:

> Just a heads up for anyone who is interested.  The living history
group I belong to "The Tudor
> Group" is putting on an exhibit at the V&A Musuem on the 22nd and
23rd of March 2003.  I'll be
> doing my embroidery but there is lots more as described below from
our website
> (www.tudorgroup.co.uk):

It sounds marvellous, and I should very much like to be there; it
depends on whether I'm up to getting over to the V&A.
The joys of the circle line:-(
Good luck with it, whether I make it over there or not:-)

best wishes
Stevie


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Date: Tue, 28 Jan 2003 13:33:08 +0000
Status: RO

Michaela wrote:
> I read a comment about (I think) Vivian Leigh in GwtW, about how difficult it >was to get cleavage in costumes for her. Not only was she modestly >endowed (not talking nothing, but also not ample) but her rib cage was so >round so there was a gap that was really difficult to well.. fill. 

I have exactly the same problem. No spare flesh, but prominent lower ribs, so my 17th century stays don't give me any cleavage unless I stuff something down them to fill in the gap.


Kate Bunting
Library, University of Derby


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Date: Tue, 28 Jan 2003 06:44:34 -0700
Status: RO

Robin in go-go boots? Oh, gawd....just that alone might be worth coming
to Chicago for!
And you do have a lot of hair, darn it <g>! Braiding it would probably
reduce the overall volume...
This Con is sounding, more and more, like a LOT of fun!
--sue, who has nothing to wear, anyway ;-(

Robin Netherton wrote:
> 
> On Fri, 24 Jan 2003, Pierre & Sandy Pettinger wrote:
> 
> > For the wig, at least, you can try Lacey Costume Wigs in New York
> > City.  They have a huge selection of styles, REALLY cheap.
> 
> Many thanks! This actually sounds manageable.
> 
> I'm doing '60s Mod for the social (I will look marginally less awful in
> that than I would in '20s) and my hair will be the least period-looking
> part of me -- too curly and too long. I refuse to either cut it or (the
> period solution) iron it :-O but if I could get a cheap wig in a flip
> style or something similar, I'm in business.
> 
> I've never worn a wig, and I have a ton of hair to stuff under it. Does
> that affect sizing? Any tips?
> 
> And while we're asking around, anybody have a pair of white, pink, or
> orange go-go boots in a size 8-1/2? :-)
>
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Date: Tue, 28 Jan 2003 07:17:58 -0800
Status: RO

Robin Netherton wrote:

>That may have been what I posted on December 12, under the subject line
>"High-end wools". You can probably find the thread in the archives by now
>if you want to read the conversation again -- I have the impression that
>this vendor sells only "to the trade," but then, they don't have a minimum
>cut, so you might be able to get what you need. URL is:
>
>http://www.grabiewoolen.com/
>
>  
>
thank you Robin and Brenda - that's the place!

Liz

>  
>

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Subject: [h-cost] Philly must sees <G>
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Date: Tue, 28 Jan 2003 11:45:45 -0500
Status: RO

Hi
Not at all fabric, but sooo much fun--the Philly Flower Show, should 
be 2nd week in March. Really Big and a nice break from winter (tho 
the CA folks might not need one <G>)
Ta
Carol
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Date: Tue, 28 Jan 2003 09:11:51 -0800
Status: RO

How pretty! Nice work! :-)

Arlys

On Mon, 27 Jan 2003 23:38:54 +0100 Cassandra Greer <cassandra@greer.de>
writes:
> HI!
> 
> I have scanned and published some new pictures on my Mac site:
> 
> http://homepage.mac.com/cassandragreer/PhotoAlbum7.html
> 
> I had promised to scan some Blackwork for someone - and totally 
> forgot - but
> here it is finally. There are also a couple Tassles for those who 
> are
> interested.
> 
> Cass :)
> 
> >> 
> >> I can't read a word of it, but the pictures, as advertised by 
> your wonderful
> >> commentary, are just awesome!
> >> 
> >> But can anyone tell me what the things on pages 162 - 163 are?
> >> Rowena, in upstate NY
> > Those are 'Leinenquasten' or linen tassles (of the funkiest kind) 
> - from
> > around 1630. Hmm lets see if I can get some scanned and put on my 
> mac site -
> > it will take a few minuts because there's something funny coming 
> on TV in a
> > minute (that I want to see :)
> > 
> > Cass :)
> > 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 


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Date: Tue, 28 Jan 2003 12:23:57 -0500
Status: RO

My daughter goes to University of the Arts and likes to eat at a little
place called COSI on 15th Street and Spruce? or maybe one block closer
to Walnut? It's just at the back of
the new Kimmel Center.  It's not a big fancy restaurant, more of a chic
coffee shop.  But if you're going shopping on 4th for fabric, there's
lots of places -- and Philly really has a lot of art schools so there's
lots of art students who tend to favor vegetarian cuisine so you should
find quite a few places.
Kate

lilinah@earthlink.net wrote:

> I'll be in Philadelphia in mid-March. I'm wondering if there are any
> must-see locations. I absolutely intend to go to the Mutter Museum,
> and i've already been to Independence Hall.
>
> Museums, galleries, collections? Restaurants (my daughter is a
> vegetarian)? Shopping for costuming and/or food specialties (without
> a car)?
>
> Thanks,
>
> Anahita
> living in the San Francisco Bay Area
> _______________________________________________
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Date: Tue, 28 Jan 2003 12:38:48 -0500
Status: RO

Subject:
        RE: [h-cost] Wearing 'off the shoulder' gowns
   Date:
        Tue, 28 Jan 2003 10:57:32 -0500
   From:
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     To:
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> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>

I'd say Some humans (most) are not made that way, but some are.
It's like the percentage of 6'3", size two women with extremely square
shoulders, minimal hips and some breasts, who are mostly employed as
mannequins/models.

> Humans are not made that way, but some people have really
> sloping shoulders
> (I'm NOT one of them, but my bf is, his shirts always tend to
> wrinkle around
> the neckline because his shoulders drop so much)

I am one of those people, too, as is Katy Bishop of this list.
I think our figures are the nineteenth century fashion-plate type.
(from c. 1825-1870, anyway)
Neither of us has a 45 degree slope, quite, but the slope is greater than
double the usual slope of the 'normal' figure
I.e., if a normal shoulder drops one inch, mine drops 2 over its width.

The current model fashion figure & model, too, has extremely square and
straight shoulders, but I'm not talking that extreme, either.  The 1980's
put shoulder pads on top of that; thank heavens fashion has swung away from
there.


Katy has that nineteenth century face, too.
I just look like my Irish & French-Canadian ancestors, which is not like a
fashion plate of any period.  A small resemblance to some of the older
square Dutch faces of the golden age of Dutch painting.


Pet peeve, from this tail of the bell-curve of figure variations, is that
all modern directions to fit very sloping shoulders call for shoulder pads
until the unaltered bodice &/or sleeve fits.
Sleeve caps are very often too tall for my shoulders, as well at the body
shoulder pieces.


> I guess it was just a look considered attractive for the
> period, and the cut
> of the dresses emphasized that shape. The artist might have
> taken liberties
> somewhat to make her look more attractive in the portrait...

I'm sure this comes into play, too.


> From: "Nancy Kiel" <nancy_kiel@hotmail.com>
>
> > And maybe the portraits aren't always accurate.  Looking
> > through 20,000 years, there's a portrait of Marguerite Wasa
> > from 1528 that shows a slope of
> > about 45 degrees from the base of her neck to the point of her
> > shoulder---are humans made that way?

> > Or maybe they just kept their
> > dresses on the way I'm often tempted to do-----a staplegun! *S*

Use gaff tape (like the grown-up big brother of duct tape), of course.

Maybe anti-gravity?

(serious answer:  Clothilde sells 'Res-Q Tape' to hold clothing in place.)

Or magically learn to fit the gowns.

It's only taken Robin N. 20 years of study & experiment to come to her
conclusions about the gothic fitted gown; start now & get off-shoulder
theory/ies by 2023.
or sloping shoulder theory/ies, should you prefer.

Ann in CT


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Date: Tue, 28 Jan 2003 12:47:02 -0500
Status: RO

Oh, Michaela,
This sounds like a book I have been looking for for a long time.  I
borrowed one and used it years ago, gave it back to the owner, lost
touch with her, and then forgot the title.  Could you please send all
the citation info for your ballet book! The one I used  had been
published in England.

Thanks,
Kathy Hoover
>>> thebruce@ihug.co.nz 01/28/03 04:47 AM >>>

> and you can do this with a crochet hook.

Yep. I have a ballet costuming book from the 1950s that has that
explains it. As well as how to make a tutu and a knitted leotard;)

michaela
http://recital.tripod.com/costume



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Date: Tue, 28 Jan 2003 13:00:31 -0500
Status: RO

Hi Kathy Hoover, the redhead in West Virginia.  Long time no see.  How is
your degree coming along?????????

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, 28 Jan 2003 13:05:07 -0500
Status: RO

Has anyone suggested JoMar to you. It is fabric heaven, most for under $5.00
(closer to $1.00) It is a definite place to see and stay a while. I don't
have the address handy but you can get it off yahoo maps.
Let me know if you have any problems,
Lady Mariota
----- Original Message -----
From: <lilinah@earthlink.net>
To: <h-costume@net.indra.com>
Sent: Monday, January 27, 2003 8:18 PM
Subject: [h-cost] Philadelphia...


> I'll be in Philadelphia in mid-March. I'm wondering if there are any
> must-see locations. I absolutely intend to go to the Mutter Museum,
> and i've already been to Independence Hall.
>
> Museums, galleries, collections? Restaurants (my daughter is a
> vegetarian)? Shopping for costuming and/or food specialties (without
> a car)?
>
> Thanks,
>
> Anahita
> living in the San Francisco Bay Area
> _______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
References: <20030128115836.34975.qmail@web40014.mail.yahoo.com>
Subject: Re: [h-cost] 16C Clothing & Culture. - V&A Museum
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Date: Tue, 28 Jan 2003 20:40:59 +0100
Status: RO

Hi.
Oh what a shame. This is two early.
I am going over there, but in the start of april. I would have loved to go
and watch you!
Bjarne who has begun to sew together my embroidered suit. Buttons i make
buttons these days.

Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Rachel" <rachel_holliday@yahoo.co.uk>
To: "Blackwork List" <blackwork@yahoogroups.com>; "Historic Costuming"
<historic-costuming@yahoogroups.com>; "H-costume list"
<h-costume@indra.com>; "HNW" <h-needlework@ansteorra.org>
Sent: Tuesday, January 28, 2003 12:58 PM
Subject: [h-cost] 16C Clothing & Culture. - V&A Museum


> Just a heads up for anyone who is interested.  The living history group I
belong to "The Tudor
> Group" is putting on an exhibit at the V&A Musuem on the 22nd and 23rd of
March 2003.  I'll be
> doing my embroidery but there is lots more as described below from our
website
> (www.tudorgroup.co.uk):
>
> 16C Clothing & Culture.
> Presentations throughout the museum on The Elizabethans, covering - A
Tailors Workshop;
> embroiderers'; Spinners; Braiders; Music; Dance; Clothing and other
aspects of period life.
> Also includes Perrotts Puppet Players(16C Puppeteers).
>
> Rachel
>
> =====
> Rachel
>
> Tudor Bibliography
> http://website.lineone.net/~reholliday/Tudor/
>
> __________________________________________________
> Do You Yahoo!?
> Everything you'll ever need on one web page
> from News and Sport to Email and Music Charts
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From: MaryAnn Jones <mabse@attbi.com>
Subject: Re: [h-cost] Re: chicago, tights
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Date: Tue, 28 Jan 2003 12:02:54 -0800
Status: RO

could you give the reference for the ballet costuming book?  If you ever 
need to sell yours, let me know.  maryann

At 10:46 PM 1/28/2003 +1300, you wrote:
> > >Anyone interested could look it up!
> > You pull one lost stitch up thru the next one, and that one up thru the
> > next, and so on, till you get to the top of the 'ladder', then you sew it
> > firmly so it doesn't come out there again.  It's like knitting one stitch,
> > and you can do this with a crochet hook.
>
>Yep. I have a ballet costuming book from the 1950s that has that explains
>it.
>
>As well as how to make a tutu and a knitted leotard;)
>
>Actually it has a lot of useful info in it.
>
>michaela
>http://recital.tripod.com/costume
>
>
>
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From: Kevin & Mara Riley <lindo@Radix.Net>
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Subject: [h-cost] Late 1920s/Early 1930s Knitting Patterns
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Date: Tue, 28 Jan 2003 15:56:59 -0500 (EST)
Status: RO

Folks,

I was just watching the Lord Peter Wimsey DVDs (with Edward Petherbridge)
that my DH got me for Christmas, and have gotten a wild hair about
knitting some of the caps etc. that I saw various people wearing.

There _used_ to be a web site up for vintage knitting patterns, but I went
searching for it today, and it's been taken down (temporarily, anyway).
Can anyone recommend other web sites with good vintage knitting patterns,
specifically from the late 20s/early 30s?  Other books or sources?

Thanks,
Mara




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Subject: Re: [h-cost] good source for wool?
To: h-costume@indra.com
In-Reply-To: <no.id> from "Elizabeth Young" at Jan 27, 2003 04:59:17 PM
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Date: Tue, 28 Jan 2003 13:07:03 -0800 (PST)
Status: RO

It was probably Grabie -- 
http://www.grabiewoolen.com/

but it might also have been http://www.trimfabric.com/ -- they have italian
wools

.heather.


> 
> Thanks, but this was a specific on-line (?) vendor, not Pendelton or 
> fashionfabricsclub. It was someone I hadn't heard of before. I remember 
> one of the early posts stated that the prices might be more than most of 
> us wanted to spend but one/several people then said that they did have 
> need of expensive woolens sometimes.
> Isn't it funny what we remember and don't?
> 
> Liz
> 
> Colleen McDonald wrote:
> 
> >>In the last month, someone posted information about a place selling really 
> >>nice, high-end woolen fabrics. I did not save the info (bad Liz, no 
> >>biscut!) and would be grateful if someone would resend the info.
> >>I am looking for 100% 'tropical weight' worsted wool suiting.
> >>    
> >>
> >
> >I've seen great wool at www.fashionfabricsclub.com.  Lots of wool and different weights.
> >
> >Colleen
> >
> >_______________________________________________
> >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] Late 1920s/Early 1930s Knitting Patterns
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Date: Tue, 28 Jan 2003 15:06:42 -0600
Status: RO

Ah! Another Lord Peter fan! I am, in fact watching a vintage Ian
Carmichael Lord Peter even as I type. I like both Wimseys, they are quite
different but each bring out aspects of the character. In a fashion note,
it's interesting to look back on the ones made in the early 1970's and
see how much the fashion aesthetic of the time effected the way 1920's
fashion was depicted. I had the pleasure of having Edward Petherbridge
(most recent Lord Peter) as a guide for the Shakespeare Walk in London a
couple of years ago, he's very good with a sonnet!


Karen


On Tue, 28 Jan 2003 15:56:59 -0500 (EST) Kevin & Mara Riley
<lindo@Radix.Net> writes:
> Folks,
> 
> I was just watching the Lord Peter Wimsey DVDs (with Edward 
> Petherbridge)
> that my DH got me for Christmas, and have gotten a wild hair about
> knitting some of the caps etc. that I saw various people wearing.
> 
> There _used_ to be a web site up for vintage knitting patterns, but 
> I went
> searching for it today, and it's been taken down (temporarily, 
> anyway).
> Can anyone recommend other web sites with good vintage knitting 
> patterns,
> specifically from the late 20s/early 30s?  Other books or sources?
> 
> Thanks,
> Mara
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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Subject: Re: [h-cost] Question: Spiral lacing - which direction?
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Date: Wed, 29 Jan 2003 08:33:32 -0800
Status: RO



Dianne and Greg Stucki wrote:

>
> I also have a big ribcage (small boned everywhere else, so can't blame my
> weight problems on being big boned!) and a wide space between my very
> average size breasts. Getting cleavage is far from easy!
>

I have, although not particularly large, a very oval, flat ribcage. I also have

a wide space between my fairly substantial breasts. I'm a D cup, but you
wouldn't
think it to see me lying on my back! Getting cleavage for me does require some
work, but mostly in terms of supporting said fairly substantial weight and
pushing it
inwards and up when gravity seems to dictate the opposite.
Claire


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Subject: Re: [h-cost] Philadelphia...
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Date: Tue, 28 Jan 2003 17:43:11 -0500
Status: RO

Without a car it's probably not easy to shop JoMar - I was just there this
afternoon. Love that place but I can never get out in less than an hour, usually
two.

Kate

Lady Mariota wrote:

> Has anyone suggested JoMar to you. It is fabric heaven, most for under $5.00
> (closer to $1.00) It is a definite place to see and stay a while. I don't
> have the address handy but you can get it off yahoo maps.
> Let me know if you have any problems,
> Lady Mariota
> ----- Original Message -----
> From: <lilinah@earthlink.net>
> To: <h-costume@net.indra.com>
> Sent: Monday, January 27, 2003 8:18 PM
> Subject: [h-cost] Philadelphia...
>
> > I'll be in Philadelphia in mid-March. I'm wondering if there are any
> > must-see locations. I absolutely intend to go to the Mutter Museum,
> > and i've already been to Independence Hall.
> >
> > Museums, galleries, collections? Restaurants (my daughter is a
> > vegetarian)? Shopping for costuming and/or food specialties (without
> > a car)?
> >
> > Thanks,
> >
> > Anahita
> > living in the San Francisco Bay Area
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Late 1920s/Early 1930s Knitting Patterns
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Date: Tue, 28 Jan 2003 14:28:56 -0800
Status: RO


>Can anyone recommend other web sites with good vintage knitting patterns,
>specifically from the late 20s/early 30s?  Other books or sources?

E-bay is usually full of originals of these books.


Kayta

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] slashing
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Date: Tue, 28 Jan 2003 16:31:34 -0700
Status: RO

Could you point us to some portraits of what you are trying to achieve?
I am also confused by your wording.:

Speciffically: "....  It will go on one of those brocades.."

There are what I would call slashing techniques that would show fabric
underneath that aren't panned, but the 'puffs' are faked underneath-like
here:   http://www.saragrace.net/images/puff_close.jpg 


Or also slashed, but not panned, probably some show through
..http://gallery.euroweb.hu/art/b/beham/barthel/ottheinr.jpg

Both pictures above, the material is slashed.  I think you can see the
raw edges in the second and I know that I fray checked my sleeve
slashing.  So you will have to address fraying, but it doesn't mean the
raw edges won't show.

But I would agree with Kayta that you won't see much through pinking.








Sg

>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of mabse@attbi.com
>Sent: Monday, January 27, 2003 9:23 AM
>To: h-costume@indra.com
>Subject: [h-cost] slashing
>
>Thanks all for your help on my question about Greek costumes.  I have a
better
>idea of what needs to be done now.
>
>On to another period though.  I want to do some slashing for my
elizabethan
>costume.  I got some black silk and some copper silk and I want to
slash the
>black and have the copper show through.  It will go on one of those
brocades you
>can get on e-bay.  It is a copper and black acetate brocade with a sort
of
>celtic cross pattern.  I would like to see some examples of what it
looks like
>though.  I have my own ideas of how to do it, but I am not sure if they
are
>correct.  If anyone has  any pictures to which they can point me I
would
>appreciate it.  thanks, maryann
>_______________________________________________
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Date: Tue, 28 Jan 2003 16:37:18 -0700
Status: RO

I am confused about what I am looking at in the pictures of the (men's?)
shirt.  Is the picture on the right a close up of the neck of the one on
the left?  If so, what is the square piece that looks like a flap at the
top?

Sg



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From: Katy Bishop <vintage@shore.net>
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Date: Tue, 28 Jan 2003 18:43:22 -0500 (EST)
Status: RO


Next week I am going to be in Vienna, Austria.  I am going to a 19th
Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
the other Strauss (2nd half 19th c).  Still haven't started my
Biedermeier dress :~P , I do hope I can get it done in time.  I have a
lovely blue and gold shot taffeta to work with.  Now if only I could
figure out how to gel my hair into huge bow loops.  I am almost finished
with the 2 1860 gowns I am making for the Austrian dance teacher and her
assistant.

I was wondering if anyone has any suggestions of where to shop (cloth
trims antiques) or if there are any museums with costumes to recommend.

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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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] slashing
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Date: Tue, 28 Jan 2003 15:45:03 -0800
Status: RO


>There are what I would call slashing techniques that would show fabric
>underneath that aren't panned, but the 'puffs' are faked underneath-like
>here:   http://www.saragrace.net/images/puff_close.jpg

I would have called this example paned, as my Germans have this done in 
actual panes, lined and finished off.

>Or also slashed, but not panned, probably some show through
>..http://gallery.euroweb.hu/art/b/beham/barthel/ottheinr.jpg

Looks like slashes in leather.

>Both pictures above, the material is slashed.  I think you can see the
>raw edges in the second and I know that I fray checked my sleeve
>slashing.  So you will have to address fraying, but it doesn't mean the
>raw edges won't show.
>
>But I would agree with Kayta that you won't see much through pinking.

Modern Fiber Arts folks have done a lot with pinking and slashing 
lately.  Some manufacture a surface that looks like a chenille bedspread, 
by putting several layers of fabric together, slashing thru all but the 
backing, then washing the result so the little thread ends (bias cut) frazz 
out in rows.  All the colours of all the under-layers combine in the 
frazzing, and the total effect is kind of pretty.

Kayta

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Munich catalog - Blackwork and Tassles-figured it out
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Date: Tue, 28 Jan 2003 16:47:53 -0700
Status: RO

I see now that it is the collar opened and folded down!  Duh

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Saragrace Knauf
>Sent: Tuesday, January 28, 2003 4:37 PM
>To: h-costume@indra.com
>Subject: RE: [h-cost] Munich catalog - Blackwork and Tassles-confused
about
>picture
>
>I am confused about what I am looking at in the pictures of the
(men's?)
>shirt.  Is the picture on the right a close up of the neck of the one
on
>the left?  If so, what is the square piece that looks like a flap at
the
>top?
>
>Sg
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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From: MaryAnn Jones <mabse@attbi.com>
Subject: RE: [h-cost] slashing
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Date: Tue, 28 Jan 2003 15:46:31 -0800
Status: RO

thanks, these two pictures really clarify things.  I think that if you pull 
enough fabric through the slash, you could just fraycheck the slash because 
you wouldn't be able to see it.  I had a much different concept of what 
this all meant.  maryann

At 04:31 PM 1/28/2003 -0700, you wrote:
>Could you point us to some portraits of what you are trying to achieve?
>I am also confused by your wording.:
>
>Speciffically: "....  It will go on one of those brocades.."
>
>There are what I would call slashing techniques that would show fabric
>underneath that aren't panned, but the 'puffs' are faked underneath-like
>here:   http://www.saragrace.net/images/puff_close.jpg
>
>
>Or also slashed, but not panned, probably some show through
>..http://gallery.euroweb.hu/art/b/beham/barthel/ottheinr.jpg
>
>Both pictures above, the material is slashed.  I think you can see the
>raw edges in the second and I know that I fray checked my sleeve
>slashing.  So you will have to address fraying, but it doesn't mean the
>raw edges won't show.
>
>But I would agree with Kayta that you won't see much through pinking.
>
>
>
>
>
>
>
>
>Sg
>
> >-----Original Message-----
> >From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
> >Behalf Of mabse@attbi.com
> >Sent: Monday, January 27, 2003 9:23 AM
> >To: h-costume@indra.com
> >Subject: [h-cost] slashing
> >
> >Thanks all for your help on my question about Greek costumes.  I have a
>better
> >idea of what needs to be done now.
> >
> >On to another period though.  I want to do some slashing for my
>elizabethan
> >costume.  I got some black silk and some copper silk and I want to
>slash the
> >black and have the copper show through.  It will go on one of those
>brocades you
> >can get on e-bay.  It is a copper and black acetate brocade with a sort
>of
> >celtic cross pattern.  I would like to see some examples of what it
>looks like
> >though.  I have my own ideas of how to do it, but I am not sure if they
>are
> >correct.  If anyone has  any pictures to which they can point me I
>would
> >appreciate it.  thanks, maryann
> >_______________________________________________
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>
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] Munich catalog - Blackwork and Tassles-confused about
 picture
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Date: Tue, 28 Jan 2003 15:52:31 -0800
Status: RO


>I am confused about what I am looking at in the pictures of the (men's?)
>shirt.  Is the picture on the right a close up of the neck of the one on
>the left?  If so, what is the square piece that looks like a flap at the
>top?

Without seeing the picture, I think you may be seeing the top corners of 
the sleeves.  If you make a shirt by making the body as a cylinder with the 
arms coming straight out from the sides, then smock the top to make the 
shoulders and neck (no shoulder seams, just smock across the whole top), 
you get the top corner of the sleeve showing as two triangles peeking out 
of a wide neckline right over each shoulder.  You also get a little ruffle 
at the top, right above the smocking, which may be the beginning of the 
later ruff.


Kayta

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Subject: [h-cost] Re: where to go in Vienna
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Date: Tue, 28 Jan 2003 20:09:53 -0500
Status: RO

> From: Katy Bishop <vintage@shore.net>
> To: h-costume@indra.com
> Subject: [h-cost] where to go in Vienna
> Reply-To: h-costume@mail.indra.com
>
> Next week I am going to be in Vienna, Austria.  I am going to a 19th
> Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
> the other Strauss (2nd half 19th c).  Still haven't started my
> Biedermeier dress :~P , I do hope I can get it done in time.  I have a
> lovely blue and gold shot taffeta to work with.  Now if only I could
> figure out how to gel my hair into huge bow loops.

This is for your 1830's outfit, right?  Something like an Apollo knot?
Sometimes braids were dressed like the smooth loops often shown.
Pull your back hair to your crown.
Braid it in several braids, possibly along with some soft wire (bend the end in so your scalp
is safe from it).  I think armature wire might work, but try stopping by a beauty supply store,
because if they have something to hold the hair in place, that would be best for the effect and
for the hair.
Loop the braids in an 1830's madness sort of way.

The front hair can also be braided or frizzed all to heck & brought up to the high bun/looped
tentacles thing.

Add wire-edged ribbons in excessive profusion to the upper loops
Add artificial flowers &/or decorative insects, animals, birds.


> I am almost finished
> with the 2 1860 gowns I am making for the Austrian dance teacher and her
> assistant.

I hope to see pictures of the gowns at some point.
You do such lovely work.

> I was wondering if anyone has any suggestions of where to shop (cloth
> trims antiques) or if there are any museums with costumes to recommend.
>
> Katy Bishop, Vintage Victorian

I don't know from Vienna, but have one bite of pastry for me--you & Ben will be dancing enough
to take the calories back off.

Ann in CT


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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] where to go in Vienna
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Date: Wed, 29 Jan 2003 12:49:02 +1100 (EST)
Status: RO

 --- Katy Bishop <vintage@shore.net> wrote: > 
<snipped>
> I was wondering if anyone has any suggestions of
> where to shop (cloth trims antiques) or if there are
> any museums with costumes to recommend.



Well, if it were me going to Vienna (you are so
lucky!) I would make my first stop the
Kunsthistorisches Museum. I don't think they have
costumes, but they do have lots of art. Currently they
have three exhibitions running, the most relevant of
which is probably...

"THESAURI POLONIAE - The Treasures of Poland
This exhibition will be the first survey of Polish
treasures dating from the Late Middle Ages to the
period of the Enlightenment. Artworks on loan from,
for example, the National Museums in Warsaw and
Gdansk, and the Ecclesiastical Treasury, and the
Historical Museum in Cracow will be on show."

Of course there are many works of art from the 15th
century onwards - much more than they show in their
online collections:

<http://www.khm.at/homeE3.html>

Personally, I would devour every Venetian portrait in
the place - there are lots of Palma Vecchio paintings
there. I would love to be in your shoes. :)


Have fun, stay safe,

Bella



http://movies.yahoo.com.au - Yahoo! Movies
- What's on at your local cinema?
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Subject: RE: [h-cost] slashing
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Date: Tue, 28 Jan 2003 17:50:18 -0800
Status: RO


>thanks, these two pictures really clarify things.  I think that if you 
>pull enough fabric through the slash, you could just fraycheck the slash 
>because you wouldn't be able to see it.  I had a much different concept of 
>what this all meant.  maryann

Don't forget to only slash on the bias.  That way the slashed edges never 
really ravel, they only frazz a little.  I was in the Metropolitan Museum, 
looking at a Bronzino painting, and the little frazzing that this produces 
showed in the painting.


Kayta

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Date: Tue, 28 Jan 2003 19:23:34 -0700
Status: RO

Uh....there are lots of period examples of stuff slashed on-grain.  Of
course, the ones I've seen that fit into *that* category have the edges
finished--I've seen buttonhole stitch used, or narrow braid, or the raw
edges tucked in, just a tidge, and sewed to an interlining.
--sue

Carolyn Kayta Barrows wrote:
> 
> >thanks, these two pictures really clarify things.  I think that if you
> >pull enough fabric through the slash, you could just fraycheck the slash
> >because you wouldn't be able to see it.  I had a much different concept of
> >what this all meant.  maryann
> 
> Don't forget to only slash on the bias.  That way the slashed edges never
> really ravel, they only frazz a little.  I was in the Metropolitan Museum,
> looking at a Bronzino painting, and the little frazzing that this produces
> showed in the painting.
> 
> Kayta
> 
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Date: Tue, 28 Jan 2003 18:47:34 -0800
Status: RO


>Uh....there are lots of period examples of stuff slashed on-grain.  Of
>course, the ones I've seen that fit into *that* category have the edges
>finished--I've seen buttonhole stitch used, or narrow braid, or the raw
>edges tucked in, just a tidge, and sewed to an interlining.

> > >thanks, these two pictures really clarify things.  I think that if you
> > >pull enough fabric through the slash, you could just fraycheck the slash
> > >because you wouldn't be able to see it.  I had a much different concept of
> > >what this all meant.  maryann
> >
> > Don't forget to only slash on the bias.  That way the slashed edges never
> > really ravel, they only frazz a little.  I was in the Metropolitan Museum,
> > looking at a Bronzino painting, and the little frazzing that this produces
> > showed in the painting.

I guess I meant where the slashing is the final step.  I'm not sure what 
I'd call the technique where the slashed edges were finished off or turned 
under.


Kayta

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Date: Tue, 28 Jan 2003 19:19:05 -0800
Status: RO

I'm apologize for asking this here, but i'm only on two costume lists...

Anyway, does thin synthetic "fleece" tend to shrink?

I have some cuts of the fairly thin cheaper "fleece" that i bought on 
sale a year ago and would like to sew them into jackets for a 
February costumed camping event.

I generally wash all the fabric i sew before i cut it. But, i now 
don't live too close to a laundromat, and i only go every couple 
weeks.

But my limited experience with modern synthetic "fleece" stuff has 
varied. The real stuff, from Malden Mills, has behaved well, with 
years of hard use.

But the thinner cheaper stuff pilled badly and got "hard" after just 
a few washings (i don't use additives to my wash, no softeners, just 
natural biodegradable stuff). So the less i wash it, the better it 
seems to me.

Thus, if i can bypass pre-washing before cutting, that will mean one 
less wash cycle to cause it to pill. Is this advisable, or should i 
just haul it off to the laundromat?

Also, sorry for what must have seemed like a redundant Philadelphia 
question, but the previous thread appeared to me to be mostly about 
Jo-Mar, and while they sound like a wonderful store (or three), i'm 
more interested in museums and the like. So if anyone has any to 
recommend, or regional food specialties, please let me know.

Anahita
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Lacey's just updated their catalog, and it now includes photos of most =
of their wigs and is much more comprehensive.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes=20
http://www.cabbagerosecostumes.com
"Be not afraid of greatness; some are born great,
some achieve greatness, and some have greatness thrust=20
upon them."
Twelfth-Night, II, v - W. Shakespeare


  ----- Original Message -----=20
  From: Marionetta@aol.com=20
  To: h-costume@indra.com=20
  Sent: Monday, January 27, 2003 6:22 PM
  Subject: [h-cost] Laceys costume wigs



  I love Lacey's!  Most of the costume wigs I've bought have, even when =
purchased thru another source, turned out when I saw their tags to have =
come from Lacey's.  The point about abruptness is dead on, but don't let =
their phone manner fool you, they have great service and great products. =
 Unfortunately the catalog isn't the greatest, it's all rather cartoon-y =
line drawings, and therefore somewhat hard judge exactly what the wig =
will look like.  Ask folks who've ordered from them for suggestions as =
to which style will be right for your use.  And if there is a choice =
chose the pricier version.=20

  The alonge and deluxe alonge are among my favorites, good for =
17th/18th c depending on how you style it.  I've combed out the top of =
one of these and gotten a really nice late 1700s look - the giant pouf =
on top with long curls hanging down a la "Jefferson in Paris."=20

  Another good wig co. is Garland wigs, they have a website with actual =
photos: garlandbty.com      NO www
  but if I remember correctly you can't order online.  The Mae wig is a =
nice versatile one that you can style a multitude of ways.

  Happy hair shopping.  Cheers,

  Loren 
------=_NextPart_000_00B2_01C2C700.1D7576C0
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DAvantGarde size=3D2>Lacey's just updated their =
catalog, and it now=20
includes photos of most of their wigs and is much more=20
comprehensive.</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2>angela</FONT></DIV>
<DIV><FONT face=3DAvantGarde size=3D2>+++++<BR>Angela F. =
Lazear<BR>Cabbage Rose=20
Costumes <BR><A=20
href=3D"http://www.cabbagerosecostumes.com">http://www.cabbagerosecostume=
s.com</A><BR>"Be=20
not afraid of greatness; some are born great,<BR>some achieve greatness, =
and=20
some have greatness thrust <BR>upon them."<BR>Twelfth-Night, II, v - W.=20
Shakespeare</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DAvantGarde size=3D2></FONT>&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=3DMarionetta@aol.com=20
  href=3D"mailto:Marionetta@aol.com">Marionetta@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> Monday, January 27, 2003 =
6:22=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Laceys =
costume=20
  wigs</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D2=20
  FAMILY=3D"SANSSERIF"><BR>I love Lacey's!&nbsp; Most of the costume =
wigs I've=20
  bought have, even when purchased thru another source, turned out when =
I saw=20
  their tags to have come from Lacey's.&nbsp; The point about abruptness =
is dead=20
  on, but don't let their phone manner fool you, they have great service =
and=20
  great products.&nbsp; Unfortunately the catalog isn't the greatest, =
it's all=20
  rather cartoon-y line drawings, and therefore somewhat hard judge =
exactly what=20
  the wig will look like.&nbsp; Ask folks who've ordered from them for=20
  suggestions as to which style will be right for your use.&nbsp; And if =
there=20
  is a choice chose the pricier version. <BR><BR>The alonge and deluxe =
alonge=20
  are among my favorites, good for 17th/18th c depending on how you =
style=20
  it.&nbsp; I've combed out the top of one of these and gotten a really =
nice=20
  late 1700s look - the giant pouf on top with long curls hanging down a =
la=20
  "Jefferson in Paris." <BR><BR>Another good wig co. is Garland wigs, =
they have=20
  a website with actual photos: =
garlandbty.com&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NO=20
  www<BR>but if I remember correctly you can't order online.&nbsp; The =
Mae wig=20
  is a nice versatile one that you can style a multitude of =
ways.<BR><BR>Happy=20
  hair shopping.&nbsp; Cheers,<BR><BR>Loren</FONT>=20
</FONT></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_00B2_01C2C700.1D7576C0--

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From: "Sue" <Sue@VictorianMillinery.com>
To: <h-costume@indra.com>
References: <f2.28663299.2b67435b@aol.com> <00b501c2c743$2bcd3440$c35d7843@angelap3a8d978>
Subject: Re: [h-cost] Laceys costume wigs
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Date: Tue, 28 Jan 2003 23:15:58 -0500
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I carry wigs also and have pictures.
Cordially,
Sue Shatto
401 Fairview Ave.
Frederick, MD 21701
http://www.VictorianMillinery.com

  ----- Original Message -----=20
  From: Cabbage Rose=20
  To: h-costume@indra.com=20
  Sent: Tuesday, January 28, 2003 10:04 PM
  Subject: Re: [h-cost] Laceys costume wigs


  Lacey's just updated their catalog, and it now includes photos of most =
of their wigs and is much more comprehensive.

  angela
  +++++
  Angela F. Lazear
  Cabbage Rose Costumes=20
  http://www.cabbagerosecostumes.com
  "Be not afraid of greatness; some are born great,
  some achieve greatness, and some have greatness thrust=20
  upon them."
  Twelfth-Night, II, v - W. Shakespeare


    ----- Original Message -----=20
    From: Marionetta@aol.com=20
    To: h-costume@indra.com=20
    Sent: Monday, January 27, 2003 6:22 PM
    Subject: [h-cost] Laceys costume wigs



    I love Lacey's!  Most of the costume wigs I've bought have, even =
when purchased thru another source, turned out when I saw their tags to =
have come from Lacey's.  The point about abruptness is dead on, but =
don't let their phone manner fool you, they have great service and great =
products.  Unfortunately the catalog isn't the greatest, it's all rather =
cartoon-y line drawings, and therefore somewhat hard judge exactly what =
the wig will look like.  Ask folks who've ordered from them for =
suggestions as to which style will be right for your use.  And if there =
is a choice chose the pricier version.=20

    The alonge and deluxe alonge are among my favorites, good for =
17th/18th c depending on how you style it.  I've combed out the top of =
one of these and gotten a really nice late 1700s look - the giant pouf =
on top with long curls hanging down a la "Jefferson in Paris."=20

    Another good wig co. is Garland wigs, they have a website with =
actual photos: garlandbty.com      NO www
    but if I remember correctly you can't order online.  The Mae wig is =
a nice versatile one that you can style a multitude of ways.

    Happy hair shopping.  Cheers,

    Loren=20

------=_NextPart_000_0009_01C2C723.36FE1840
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><STRONG><FONT face=3DArial>I carry wigs also and have=20
pictures.</FONT></STRONG></DIV>
<DIV><STRONG><FONT face=3DArial>Cordially,<BR>Sue Shatto<BR>401 Fairview =

Ave.<BR>Frederick, MD 21701<BR><A=20
href=3D"http://www.VictorianMillinery.com">http://www.VictorianMillinery.=
com</A><BR></FONT></STRONG></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=3Dcabbagerose@sbcglobal.net=20
  href=3D"mailto:cabbagerose@sbcglobal.net">Cabbage Rose</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> Tuesday, January 28, 2003 =
10:04=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Laceys =
costume=20
  wigs</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>Lacey's just updated their =
catalog, and it=20
  now includes photos of most of their wigs and is much more=20
  comprehensive.</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>angela</FONT></DIV>
  <DIV><FONT face=3DAvantGarde size=3D2>+++++<BR>Angela F. =
Lazear<BR>Cabbage Rose=20
  Costumes <BR><A=20
  =
href=3D"http://www.cabbagerosecostumes.com">http://www.cabbagerosecostume=
s.com</A><BR>"Be=20
  not afraid of greatness; some are born great,<BR>some achieve =
greatness, and=20
  some have greatness thrust <BR>upon them."<BR>Twelfth-Night, II, v - =
W.=20
  Shakespeare</FONT></DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DAvantGarde size=3D2></FONT>&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=3DMarionetta@aol.com=20
    href=3D"mailto:Marionetta@aol.com">Marionetta@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> Monday, January 27, =
2003 6:22=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> [h-cost] Laceys =
costume=20
    wigs</DIV>
    <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
face=3DArial size=3D2=20
    FAMILY=3D"SANSSERIF"><BR>I love Lacey's!&nbsp; Most of the costume =
wigs I've=20
    bought have, even when purchased thru another source, turned out =
when I saw=20
    their tags to have come from Lacey's.&nbsp; The point about =
abruptness is=20
    dead on, but don't let their phone manner fool you, they have great =
service=20
    and great products.&nbsp; Unfortunately the catalog isn't the =
greatest, it's=20
    all rather cartoon-y line drawings, and therefore somewhat hard =
judge=20
    exactly what the wig will look like.&nbsp; Ask folks who've ordered =
from=20
    them for suggestions as to which style will be right for your =
use.&nbsp; And=20
    if there is a choice chose the pricier version. <BR><BR>The alonge =
and=20
    deluxe alonge are among my favorites, good for 17th/18th c depending =
on how=20
    you style it.&nbsp; I've combed out the top of one of these and =
gotten a=20
    really nice late 1700s look - the giant pouf on top with long curls =
hanging=20
    down a la "Jefferson in Paris." <BR><BR>Another good wig co. is =
Garland=20
    wigs, they have a website with actual photos:=20
    garlandbty.com&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; NO www<BR>but if I =
remember=20
    correctly you can't order online.&nbsp; The Mae wig is a nice =
versatile one=20
    that you can style a multitude of ways.<BR><BR>Happy hair =
shopping.&nbsp;=20
    Cheers,<BR><BR>Loren</FONT> =
</FONT></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

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From h-costume-admin@indra.com  Wed Jan 29 00:21:32 2003
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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] OT? Modern Fleece Fabric
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Date: Tue, 28 Jan 2003 21:17:40 -0800
Status: RO



>Anyway, does thin synthetic "fleece" tend to shrink?
>
I don't know how thin you're talking, but I haven't noticed any shrinkage in 
the fleece robes I made for christmas gifts last year.  I bought the stuff 
that was on sale at JoAnn's for 3.99yd.  Our robes get washed regularly in 
the machines and while they do pill a bit, they don't change shape or size.



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, 28 Jan 2003 22:29:33 -0700
Status: RO

I've got some of the "older" stuff (the real, honest-to-murgatroyd
"polar fleece") and some thinner, newer stuff, although it's not
flimsy.  They both seem to be handling being thrown in the washer okay.
I don't dry them in the dryer, though--just hang them over the curtain
rod and air dry them.
If I were you, I'd probably wash it just to get the store gunk and dust
from it.
My only beef with my fleecy stuff is that it's a cat magnet--and they
leave hairs behind <g>.
--sue

lilinah@earthlink.net wrote:
> 
> I'm apologize for asking this here, but i'm only on two costume lists...
> 
> Anyway, does thin synthetic "fleece" tend to shrink?
> 
> I have some cuts of the fairly thin cheaper "fleece" that i bought on
> sale a year ago and would like to sew them into jackets for a
> February costumed camping event.
> 
> I generally wash all the fabric i sew before i cut it. But, i now
> don't live too close to a laundromat, and i only go every couple
> weeks.
> 
> But my limited experience with modern synthetic "fleece" stuff has
> varied. The real stuff, from Malden Mills, has behaved well, with
> years of hard use.
> 
> But the thinner cheaper stuff pilled badly and got "hard" after just
> a few washings (i don't use additives to my wash, no softeners, just
> natural biodegradable stuff). So the less i wash it, the better it
> seems to me.
> 
> Thus, if i can bypass pre-washing before cutting, that will mean one
> less wash cycle to cause it to pill. Is this advisable, or should i
> just haul it off to the laundromat?
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Date: Tue, 28 Jan 2003 23:50:25 -0600
Status: RO

Apparently, the armour collection (formally, the Von Kienbusch Collection)
is at the Philadelphia Art Museum.
I've heard that it is "Quite a nice collection - the 2nd largest in America.
As I remember, the rest of the museum's not bad either."

have fun!  AND! check out the open air food market.  It is a hoot.....and
for us cooks seriously makes you want a kitchen! (live crabs in summer,
beautiful produce, butcher cured bacon......)

....marie


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Subject: Re: [h-cost] Re: where to go in Vienna
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Date: Tue, 28 Jan 2003 23:17:31 -0800 (PST)
Status: RO


Catelli <catelli@rcn.com> wrote:
>Katy Bishop <vintage@shore.net>
> > Next week I am going to be in Vienna, Austria.  I am going to a 19th
> > Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
> > the other Strauss (2nd half 19th c).  Still haven't started my
> > Biedermeier dress :~P , I do hope I can get it done in time.  I have a
> > lovely blue and gold shot taffeta to work with.  Now if only I could
> > figure out how to gel my hair into huge bow loops.
> 
> This is for your 1830's outfit, right?  Something like an Apollo knot?
> Sometimes braids were dressed like the smooth loops often shown.
> Pull your back hair to your crown.
> Braid it in several braids, possibly along with some soft wire (bend the end in so your scalp
> is safe from it).  I think armature wire might work, but try stopping by a beauty supply store,
> because if they have something to hold the hair in place, that would be best for the effect and
> for the hair.

Plain gelatin.  No kidding.  Buy plain gelatin powder and reconstitute it 
with hot water.  Apply it to the hair with a metal-toothed comb (or at least
one that won't melt from the heat).  Wrap the hair around a form (either 
a super big roller or a wired ribbon loop) and pin in place.  Go on to the
next loop.  The gelatin will set up as it dries.  Remove your forms/rollers.
Arrange hair as desired, without deforming your loops.

Your hair won't be soft and flowing, but that doesn't appear to have been
the point of this particular hairstyle.  Done correctly, it will _not_ move
until you soak the gelatin out with hot water.  The bonus is that this is a
great protein treatment and will make your hair stronger.

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: =?iso-8859-1?q?Rachel?= <rachel_holliday@yahoo.co.uk>
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Date: Wed, 29 Jan 2003 08:57:46 +0000 (GMT)
Status: RO

Hi Bjarne

> Oh what a shame. This is two early.
> I am going over there, but in the start of april. I would have loved to go
> and watch you!
> Bjarne who has begun to sew together my embroidered suit. Buttons i make
> buttons these days.

Well if the group takes any photos I'll be sure to send them along to the group.  Failing that if
anyone is around at the end of August (week before & the weekend of the august bank holiday) we'll
be up at Sulgrave Manor doing more of the same and lots lots more!

Rachel

=====
Rachel

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

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Subject: Re: [h-cost] slashing
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Date: Wed, 29 Jan 2003 05:54:48 -0500
Status: RO


----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: <h-costume@indra.com>
Sent: Tuesday, January 28, 2003 9:47 PM
Subject: Re: [h-cost] slashing


>
> >Uh....there are lots of period examples of stuff slashed on-grain.  Of
> >course, the ones I've seen that fit into *that* category have the edges
> >finished--I've seen buttonhole stitch used, or narrow braid, or the raw
> >edges tucked in, just a tidge, and sewed to an interlining.

If the OP is referring to the fabric I think she is  ( did you buy it from
fabricmasterpieces by any chance?). it is lovely stuff, but I really
wouldn't recommend slashing it. It frays like mad, so much so that it might
even be difficult to get the edges finished on tiny cuts before they frayed.

Dianne

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Subject: Re: [h-cost] Re: chicago, tights
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Date: Thu, 30 Jan 2003 00:48:57 +1300
Status: RO

> This sounds like a book I have been looking for for a long time.  I
> borrowed one and used it years ago, gave it back to the owner, lost
> touch with her, and then forgot the title.  Could you please send all
> the citation info for your ballet book! The one I used  had been
> published in England.

Justa  quick note.. I wish I'd checked my eamail earlier, I have a brand new
sewing room which is actually seperate fromt he house so I'll have to get
the book tomorrow. It's in really good condition concidering the age and
that it hs a paper dust jacket;)

I will get every detail tomorrow in terms of title, author, publisher etc.

It has patterns for national costumes, repairing shoes.... knitting things
from head to toe, circle skirts.... absolute gold mine for sewing:)

michaela
http://recital.tripod.com/costume
Very soon going to have to splash out for real web space.. too many costumes
now, and need to have a different format for the saem reason!


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Date: Thu, 30 Jan 2003 00:52:46 +1300
Status: RO

> I read something one time  (probably apocryphal) about when they costuming
> Miss Leigh for the movie. Laurence Olivier was watching as they taped and
> taped to get her some cleavage. After a while, he commented, "And all this
> time, I thought they were perfectly lovely."

So it was her:) I feel so much better. Hate it when I lose a source...

> I also have a big ribcage (small boned everywhere else, so can't blame my
> weight problems on being big boned!) and a wide space between my very
> average size breasts. Getting cleavage is far from easy!

Gosh, I've always felt so inadequate because of this.. no one I've met has
had the same ... challenge. Not problem, not difficulty.. challenge;)

And there have been more "me too's" to this post as well:) I feel bonded;)

And I also now don't feel so under endowed, knowing that others with larger
busts than me also have the problem:) I'm an A cup mind you;) 34-36"
depending on the brand (yeah, you'd thinkk with actual measurements there'd
be better sizing). And flatten away to nothing in a bathing suit.

So guess who doesn't go swimming anymore;)

michaela
http://recital.tripod.com/costume



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From: Kevin & Mara Riley <lindo@Radix.Net>
To: h-costume@indra.com
Subject: Re: [h-cost] Late 1920s/Early 1930s Knitting Patterns
In-Reply-To: <20030128.150643.-242154227.0.Seamstrix@juno.com>
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Date: Wed, 29 Jan 2003 08:53:27 -0500 (EST)
Status: RO

Oh, yes... <G>  I read them all in my early teens, and re-read them
regularly.   Haven't seen the Ian Carmichael series for years, though...
I doubt my local video store carries them.  Maybe that could be on my
birthday wish list!

I really like the ones with Edward Petherbridge; he does look like the
image in my head of what Lord Peter should look like.  It's a pity they
didn't see fit to remake all the books with him as the lead!

And yes, you're right, funny how the fashion sensibilities of the 70s
crept into so many period dramas of the time.  I think they did a better
job with the Petherbridge series, though...

The Shakespeare Walk sounds wonderful -- I'm incredibly envious!

Cheers,
Mara


On Tue, 28 Jan 2003 seamstrix@juno.com wrote:

> Ah! Another Lord Peter fan! I am, in fact watching a vintage Ian
> Carmichael Lord Peter even as I type. I like both Wimseys, they are quite
> different but each bring out aspects of the character. In a fashion note,
> it's interesting to look back on the ones made in the early 1970's and
> see how much the fashion aesthetic of the time effected the way 1920's
> fashion was depicted. I had the pleasure of having Edward Petherbridge
> (most recent Lord Peter) as a guide for the Shakespeare Walk in London a
> couple of years ago, he's very good with a sonnet!
>
>
> Karen
>
>
> On Tue, 28 Jan 2003 15:56:59 -0500 (EST) Kevin & Mara Riley
> <lindo@Radix.Net> writes:
> > Folks,
> >
> > I was just watching the Lord Peter Wimsey DVDs (with Edward
> > Petherbridge)
> > that my DH got me for Christmas, and have gotten a wild hair about
> > knitting some of the caps etc. that I saw various people wearing.
> >
> > There _used_ to be a web site up for vintage knitting patterns, but
> > I went
> > searching for it today, and it's been taken down (temporarily,
> > anyway).
> > Can anyone recommend other web sites with good vintage knitting
> > patterns,
> > specifically from the late 20s/early 30s?  Other books or sources?
> >
> > Thanks,
> > Mara
> >
> >
> >
> >
> > _______________________________________________
> > 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 Jan 29 09:01:44 2003
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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] slashing
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Date: Wed, 29 Jan 2003 07:01:14 -0700
Status: RO

When I first joined this list there was a discussion about slashing
techniques.  You might want to search the archives.

There were lots of good tips, and one of them was that if you really
want fabric to show through you should 'fake' the puffs (by this I mean
an inner piece of fabric sandwiched by the lining and outer fashion
fabric (FF)', because your movement will usually pull the fabric back
out.   Probably not necessary for open elbows, or the point where the
sleeve attaches to the garment if you have plenty of undersleeve.

I seem to remember someone saying that there was evidence that the puffs
you see on some articles of clothing were actually 'faked' back then.
I couldn't find an online image to show you,  but an example is an
engraving done by Will Rogers 1593-95 in QEWU on page 47.

Also, test your fabric if you use something to stabilize the slash (like
fraycheck, or more period stuff like wax).  You can't tell most of the
time that it is there if you put it on in light coats.  You have to
touch the velvet in the dress in the picture I showed you to know that
there is fray check on the slash-otherwise you can't tell.  Also
experiment with how much fray check.  I only used one 'coat' on one
sleeve and two on the other.  The latter is holding up much better. 

Sg

>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of MaryAnn Jones
>Sent: Tuesday, January 28, 2003 4:47 PM
>To: h-costume@indra.com
>Subject: RE: [h-cost] slashing
>
>thanks, these two pictures really clarify things.  I think that if you
pull
>enough fabric through the slash, you could just fraycheck the slash
because
>you wouldn't be able to see it.  I had a much different concept of what
>this all meant.  maryann
>
>At 04:31 PM 1/28/2003 -0700, you wrote:
>>Could you point us to some portraits of what you are trying to
achieve?
>>I am also confused by your wording.:
>>
>>Speciffically: "....  It will go on one of those brocades.."
>>
>>There are what I would call slashing techniques that would show fabric
>>underneath that aren't panned, but the 'puffs' are faked
underneath-like
>>here:   http://www.saragrace.net/images/puff_close.jpg
>>
>>
>>Or also slashed, but not panned, probably some show through
>>..http://gallery.euroweb.hu/art/b/beham/barthel/ottheinr.jpg
>>
>>Both pictures above, the material is slashed.  I think you can see the
>>raw edges in the second and I know that I fray checked my sleeve
>>slashing.  So you will have to address fraying, but it doesn't mean
the
>>raw edges won't show.
>>
>>But I would agree with Kayta that you won't see much through pinking.
>>
>>
>>
>>
>>
>>
>>
>>
>>Sg
>>
>> >-----Original Message-----
>> >From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]
On
>> >Behalf Of mabse@attbi.com
>> >Sent: Monday, January 27, 2003 9:23 AM
>> >To: h-costume@indra.com
>> >Subject: [h-cost] slashing
>> >
>> >Thanks all for your help on my question about Greek costumes.  I
have a
>>better
>> >idea of what needs to be done now.
>> >
>> >On to another period though.  I want to do some slashing for my
>>elizabethan
>> >costume.  I got some black silk and some copper silk and I want to
>>slash the
>> >black and have the copper show through.  It will go on one of those
>>brocades you
>> >can get on e-bay.  It is a copper and black acetate brocade with a
sort
>>of
>> >celtic cross pattern.  I would like to see some examples of what it
>>looks like
>> >though.  I have my own ideas of how to do it, but I am not sure if
they
>>are
>> >correct.  If anyone has  any pictures to which they can point me I
>>would
>> >appreciate it.  thanks, maryann
>> >_______________________________________________
>> >h-costume mailing list
>> >h-costume@mail.indra.com
>> >http://mail.indra.com/mailman/listinfo/h-costume
>>
>>_______________________________________________
>>h-costume mailing list
>>h-costume@mail.indra.com
>>http://mail.indra.com/mailman/listinfo/h-costume
>
>
>_______________________________________________
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Subject: [h-cost] Re: [h-cost]Wimsey, was Late 1920s/Early 1930s Knitting
 Patterns
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Date: Wed, 29 Jan 2003 14:28:16 +0000
Status: RO

Mara wrote:

>I really like the ones with Edward Petherbridge; he does look like the
>image in my head of what Lord Peter should look like.  It's a pity they
>didn't see fit to remake all the books with him as the lead!

Yes, I liked the Petherbridge version of Lord Peter Wimsey best too.

Did you know that Dorothy Sayers once met a man who she thought looked just like her idea of Lord Peter. When her diaries were edited for publication by a friend after her death, it turned out that she had recorded seeing the same man years earlier,  before she created the character, but her conscious mind had forgotten him!


Kate Bunting
Library, University of Derby


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To: <h-costume@indra.com>
References: <20030127.155550.-242154227.20.Seamstrix@juno.com>
Subject: Re: [h-cost] Thanks for the Vienna info! Also: wig examination offer (heh), men's Frocks in Austria?, ToaP  :)
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Date: Wed, 29 Jan 2003 09:39:33 -0500
Status: RO

I am coming in late on the question of the Lacey Company, but I want to give
my own comment.  I
have been using them in my business foe the last 25 years, and they are the
best.  They carry the full gamut of quality and variety.  If you tell them
your price range, they will have the style and color and quality immediately
at hand weather it is a theatre or streetwise item needed.  Elliot never
misses a name ,company or identity. If you have ordered once, all you have
to provide is your name and he says "you've got it" and hangs up .  Service
is extraordinary.  I live in western PA and have even had my wig in 24
hours, and always within three days.

Kathleen, who is not on a
      ----- Original Message -----
From: <seamstrix@juno.com>
To: <h-costume@indra.com>
Sent: Monday, January 27, 2003 4:55 PM
Subject: Re: [h-cost] Thanks for the Vienna info! Also: wig examination
offer (heh), men's Frocks in Austria?, ToaP :)


>
> On Mon, 27 Jan 2003 15:21:46 -0500 michiko <michiko@michiko.com> writes:
>
> > Also, got this info off the Lacy Wig site you provided (thanks
> > Cathy!) and just wanted to mention that since I'm in NYC (albeit not
> > walking distance from their location) that if anyone from outside of
> > NYC needed me to go in and have a look at the wigs for them (i.e. if
> > the Lacey staff are being too terse and Noo Yawkerish for your
> > tastes :), let me know! I'm curious about their wigs now (obsessed with
>
> > Vienna research now, though I may just be doing up my own hair) and
> > will probably go in to check it out in the next few weeks and can
> > get you info at the same time, if you need it.
>
> I am very interested in this company and would love to know if their
> quality is good. If you could take a bit of an exploratory expedition
> there just to see what they are like, I'd love to hear a report.
>
> Karen
>
> ________________________________________________________________
> Sign Up for Juno Platinum Internet Access Today
> Only $9.95 per month!
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From h-costume-admin@indra.com  Wed Jan 29 09:43:49 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <Pine.GSO.4.44.0301281835401.9787-100000@shell3.shore.net>
Subject: Re: [h-cost] where to go in Vienna
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Date: Wed, 29 Jan 2003 15:44:00 +0100
Status: RO

Dear Kathy.
Oh you must go and se Castle Schönbrunn. I dont think they have any costumes
to show, but my.......... there are a lot of beautifull portraits and
interiors to see. It is the home of the Habsburg family. Marie Antoinette
was born there.
Wish i could go with you, Wienna is high on my list two.
There is a charming old Coffe Shop. I think it is more than 200 years old.
Dont miss to have your Tea or Coffe there.
Wish you a wonderfull trip!!!
Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Katy Bishop" <vintage@shore.net>
To: <h-costume@indra.com>
Sent: Wednesday, January 29, 2003 12:43 AM
Subject: [h-cost] where to go in Vienna


>
> Next week I am going to be in Vienna, Austria.  I am going to a 19th
> Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
> the other Strauss (2nd half 19th c).  Still haven't started my
> Biedermeier dress :~P , I do hope I can get it done in time.  I have a
> lovely blue and gold shot taffeta to work with.  Now if only I could
> figure out how to gel my hair into huge bow loops.  I am almost finished
> with the 2 1860 gowns I am making for the Austrian dance teacher and her
> assistant.
>
> I was wondering if anyone has any suggestions of where to shop (cloth
> trims antiques) or if there are any museums with costumes to recommend.
>
> 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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From h-costume-admin@indra.com  Wed Jan 29 10:34:33 2003
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Subject: Re: [h-cost] Re: CC 21
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Date: Wed, 29 Jan 2003 10:33:11 -0500
Status: RO

I have hair to my knees, and it *definitely* affects wig sizing.  With most
wigs I have to pin-curl the heck out of my hair, with a wig cap, and even
then the wigs are pretty tight.  Braids would probably work too, but they'd
need to be fairly narrow so as to avoid having large lumpy lines under your
wig.

As for the go-go boots, I found my 8 1/2 white go-go boots on ebay. ^_^

-- Maral aka Sarcasm-hime

----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: <h-costume@indra.com>
Sent: Tuesday, January 28, 2003 2:05 AM
Subject: Re: [h-cost] Re: CC 21


>
> On Fri, 24 Jan 2003, Pierre & Sandy Pettinger wrote:
>
> > For the wig, at least, you can try Lacey Costume Wigs in New York
> > City.  They have a huge selection of styles, REALLY cheap.
>
> Many thanks! This actually sounds manageable.
>
> I'm doing '60s Mod for the social (I will look marginally less awful in
> that than I would in '20s) and my hair will be the least period-looking
> part of me -- too curly and too long. I refuse to either cut it or (the
> period solution) iron it :-O but if I could get a cheap wig in a flip
> style or something similar, I'm in business.
>
> I've never worn a wig, and I have a ton of hair to stuff under it. Does
> that affect sizing? Any tips?
>
> And while we're asking around, anybody have a pair of white, pink, or
> orange go-go boots in a size 8-1/2? :-)
>
> --Robin
>
>
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From h-costume-admin@indra.com  Wed Jan 29 10:50:26 2003
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Re: Philadelphia sights -OT
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Date: Wed, 29 Jan 2003 07:50:02 -0800 (PST)
Status: RO

> have fun!  AND! check out the open air food market. 

It took me a moment to realize what you were talking
about.. You must mean the Italian Market, which is on
South 9th Street, beginning somewhere around Catherine
or Carpenter Streets and going South from there, I
believe.

Indeed if the weather is better by the time you're
here, it's worth a stroll, if just to soak up the wild
diversity of cultures hawking wares on the streets,
usually as an extension of their storefront directly
behind them. There's also an excellent kitchen supply
place there, called Fante's where you can find the
most amazing and arcane implements, as well as
charming and interesting sales help. 

For a more tourist-friendly experience, try the
Reading Terminal Market -- a huge market resembling a
street market inside an old train terminal. It takes
up an entire city block in downtown Philly, between
11th and 12th and Filbert and Arch Streets. You can
find food from all corners of the world here, and it's
great for people-watching.

-Tasha

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From h-costume-admin@indra.com  Wed Jan 29 11:43:08 2003
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] slashing
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Date: Wed, 29 Jan 2003 08:42:56 -0800
Status: RO


>I seem to remember someone saying that there was evidence that the puffs
>you see on some articles of clothing were actually 'faked' back then.
>I couldn't find an online image to show you,  but an example is an
>engraving done by Will Rogers 1593-95 in QEWU on page 47.

Any of the paintings of QE1 in that big white dress (Ditchley portrait, 
etc.) should show what might be faked puffs.  Tho I begin to wonder if the 
surface puffing on that dress is faked puffs or just applied puffing with 
no slashes at all.


Kayta

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Subject: [h-cost] Glass pearls
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Date: Wed, 29 Jan 2003 12:09:08 -0500
Status: RO

Can you launder glass pearls? I'm thinking about putting them on a headdress that will have to be laundered. Is there a better choice? 

Melanie
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Subject: [h-cost] Folkwear yardage?
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Date: Wed, 29 Jan 2003 12:22:55 -0500
Status: RO

Hi,

Does anyone have the Folkwear Morocan Burnoose pattern? I'm waiting for my
pattern to arrive and I'd like to know how much fabric I'll need. I'll
probably be making the smallest ladies' size, since I usually wear XSmall.

Thanks!
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Subject: Re: [h-cost] Re: [h-cost]Wimsey, was Late 1920s/Early 1930s Knitting Patterns
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Date: Wed, 29 Jan 2003 09:28:59 -0600
Status: RO

I like both Lord Peters, after all Ian Carmichael was my introduction to
the stories at a very young age, but I think that Edward Ptherbridge is
closer to Sayers vision. Even tho he wasn't actually any younger than
Carmichael when he made the series, Petherbridge manages to seem younger
than his 51 years. In the Harriet Vane stories, Wimsey should be about 40
years old. Carmichael, although a similar age to Petherbridge when the
shows were filmed, always seems older and less spritely. Carmichael
specifically didn't want to do the Harriet Vane stories because he
thought he was too old to effectively play a lover. 

To bring some costume content into the post, the stories are a very nice
peek into upper class fashion and manners of the time, as Lord Peter is
supposed to be a clotheshorse of the highest order. Sayers manages to
include many details of men's toiletry as well as decribing how Lord
Peter chooses certain clothing to cause a particular impression. They
aren't really disguises, they are just clothing for characters that Lord
Peter creates to solve cases. They are a terrific resource for folks
trying to create a particular impression from that period.

The Petherbridge 'Lord Peters', which I think of as new but were really
made 15 years ago, seem to show less evidence of the period in which they
were created than the Carmichaels do. Many of the Carmichaels take place
in the 1920's, but the Harriet Vane stories are all in the 1930's so one
can get a variety of clothing styles thru the course of the series.


Karen

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Date: Wed, 29 Jan 2003 11:05:31 -0700
Status: RO

Tho I begin to wonder if the[Unknown]  surface puffing on that dress is
faked puffs or just applied puffing without slashing


Yes, I was not very clear.  I understand that they were on the surface
without slashing.

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Date: Wed, 29 Jan 2003 13:43:58 -0500 (EST)
Status: RO

On Wed, 29 Jan 2003, Kate M Bunting wrote:
> Did you know that Dorothy Sayers once met a man who she thought looked just like her idea of Lord Peter. When her diaries were edited for publication by a friend after her death, it turned out that she had recorded seeing the same man years earlier,  before she created the character, but her conscious mind had forgotten him!

No, that's fascinating!  I wonder how often authors use actual people (in
real life or otherwise) as the basis for the physical characteristics of
the characters in their books...

A friend of mine who's writing a scifi/romance novel clips pictures of
actors and models who look more or less like the images in her head of the
characters she's writing.  I think they're not exact matches, but
'close'...

And I heard somewhere that Anne Rice had a younger Rutger Hauer in mind
when she wrote Lestat's character.  Now _that_ would have been
interesting.  Though I've also thought Val Kilmer could get the air of
charming menace right... <G>

-- Mara

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Subject: Re: [h-cost] OT: Wimsey, was Late 1920s/Early 1930s Knitting Patterns
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Date: Wed, 29 Jan 2003 10:51:57 -0800
Status: RO


>A friend of mine who's writing a scifi/romance novel clips pictures of
>actors and models who look more or less like the images in her head of the
>characters she's writing.  I think they're not exact matches, but
>'close'...

When I was writing, I used to cast each character, and write as if that 
actor or actress were playing the part.  I also wrote lots of costume stuff 
into my stories, but as little touches of 'colour', not as big sartorial 
lumps.  I never published, and later gave up trying to be a writer.


Kayta

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Subject: Re: [h-cost] Re: [h-cost]Wimsey, was Late 1920s/Early 1930s Knitting
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Date: Wed, 29 Jan 2003 13:53:09 -0500 (EST)
Status: RO

On Wed, 29 Jan 2003 seamstrix@juno.com wrote:

> I like both Lord Peters, after all Ian Carmichael was my introduction to
> the stories at a very young age, but I think that Edward Ptherbridge is
> closer to Sayers vision. Even tho he wasn't actually any younger than
> Carmichael when he made the series, Petherbridge manages to seem younger
> than his 51 years. In the Harriet Vane stories, Wimsey should be about 40
> years old. Carmichael, although a similar age to Petherbridge when the
> shows were filmed, always seems older and less spritely. Carmichael
> specifically didn't want to do the Harriet Vane stories because he
> thought he was too old to effectively play a lover.

Which is interesting...  I think our perceptions of age have changed
since Sayers wrote her books.  40 was probably considered a lot more 'over
the hill' back then than it is now.

> To bring some costume content into the post, the stories are a very nice
> peek into upper class fashion and manners of the time, as Lord Peter is
> supposed to be a clotheshorse of the highest order. Sayers manages to
> include many details of men's toiletry as well as decribing how Lord
> Peter chooses certain clothing to cause a particular impression. They
> aren't really disguises, they are just clothing for characters that Lord
> Peter creates to solve cases. They are a terrific resource for folks
> trying to create a particular impression from that period.

Yes... very interesting when he's trying to portray someone of
questionable breeding and taste <G>.  Bunter does a bit of this, too, in
the DVDs, though it's less obvious in the books, I think.

> The Petherbridge 'Lord Peters', which I think of as new but were really
> made 15 years ago, seem to show less evidence of the period in which they
> were created than the Carmichaels do. Many of the Carmichaels take place
> in the 1920's, but the Harriet Vane stories are all in the 1930's so one
> can get a variety of clothing styles thru the course of the series.
>
>
> Karen

Back to period knitting patterns...  I haven't had much luck so far
finding vintage '20s and '30s stuff on Ebay, but will have to keep an eye
out, I guess.  Most of the patterns seem to be from the late '40s onward.
I did find (and buy) a WWII vintage pattern booklet by Woolworth!  <G>  If
anyone is interested in having a copy, let me know.

Cheers,
Mara

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Subject: [h-cost] Lord Peter
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Date: Wed, 29 Jan 2003 12:47:15 -0600
Status: RO


I loved both the Lord Peter TV series. Did you know you can get the
books read by Ian Carmichael from Recorded Books? He is great, does all
the voices believably.

Kim

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From: "Five Rivers" <info@5rivers.org>
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Subject: [h-cost] Re: Folkwear yardage?
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Date: Wed, 29 Jan 2003 14:28:51 -0500
Status: RO

Dear Audrey,

    The Folkwear Moroccan Burnoose takes the following for fabric:

5'2" - 60" wide, mid calf 2 7/8yds, ankle length 3 3/8yds
5'8" - 3 3/8yds, 3 7/8 yds
6'2" - 3 7/8yds

Regards
Lorina
Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, fax (519) 799-5418 http://www.5rivers.org  email:
info@5rivers.org


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: [h-cost]Wimsey,
 was Late 1920s/Early 1930s Knitting Patterns
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Date: Wed, 29 Jan 2003 12:29:28 -0800
Status: RO


>Back to period knitting patterns...  I haven't had much luck so far
>finding vintage '20s and '30s stuff on Ebay, but will have to keep an eye
>out, I guess.  Most of the patterns seem to be from the late '40s onward.
>I did find (and buy) a WWII vintage pattern booklet by Woolworth!  <G>  If
>anyone is interested in having a copy, let me know.

Do a search for knitting under

Home > All Categories > Collectibles > Vintage Sewing

unless, of course, you already did that.

Kayta

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From h-costume-admin@indra.com  Wed Jan 29 16:45:51 2003
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Date: Wed, 29 Jan 2003 16:43:27 -0500
Status: RO

www.videocollection.com has the Ian Carmichael series, all 5 on DVD for 
179.95; their number is 1-800-538-5856 (they have video too).  Regarding 
knitting patterns, were there any printed in magazines of the day?  There's 
a magazine called Sampler of Antique Needlework published now that often has 
old patterns of different crafts.



Nancy Kiel
nancy_kiel@hotmail.com
A foolish consistency is the hobgoblin of little minds.   Emerson


>Oh, yes... <G>  I read them all in my early teens, and re-read them
>regularly.   Haven't seen the Ian Carmichael series for years, though...
>I doubt my local video store carries them.  Maybe that could be on my
>birthday wish list!
>> >
> > > I was just watching the Lord Peter Wimsey DVDs (with Edward
> > > Petherbridge)
> > > that my DH got me for Christmas, and have gotten a wild hair about
> > > knitting some of the caps etc. that I saw various people wearing.
> > >
> > > There _used_ to be a web site up for vintage knitting patterns, but
> > > I went
> > > searching for it today, and it's been taken down (temporarily,
> > > anyway).
> > > Can anyone recommend other web sites with good vintage knitting
> > > patterns,
> > > specifically from the late 20s/early 30s?  Other books or sources?
> > >
> > > Thanks,
> > > Mara
> > >
> > >
> > >
> > >
> > > _______________________________________________
> > > 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 h-costume-admin@indra.com  Wed Jan 29 17:12:16 2003
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Subject: Re: [h-cost] OT? Modern Fleece Fabric
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Date: Wed, 29 Jan 2003 17:11:47 -0500
Status: RO

> Anyway, does thin synthetic "fleece" tend to shrink?

If it's the all polyester, it probably will not shrink;  if you're talking
about sweatshirt fleece that's part cotton, yes it will shrink some.

>  a redundant Philadelphia question,..... regional food specialties, please
> let me know.

Really regional to Philly - Philly cheese steaks and pretzels.

Kate

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Date: Wed, 29 Jan 2003 14:34:27 -0800
Status: RO

replied off list

liz

Audrey Bergeron-Morin wrote:

>Hi,
>
>Does anyone have the Folkwear Morocan Burnoose pattern? I'm waiting for my
>pattern to arrive and I'd like to know how much fabric I'll need. I'll
>probably be making the smallest ladies' size, since I usually wear XSmall.
>
>Thanks!
>_______________________________________________
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Subject: Re: [h-cost] Re: CC 21
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Date: Thu, 30 Jan 2003 12:19:57 +1300
Status: RO


> I have hair to my knees, and it *definitely* affects wig sizing.  With
most
> wigs I have to pin-curl the heck out of my hair, with a wig cap, and even
> then the wigs are pretty tight.  Braids would probably work too, but
they'd
> need to be fairly narrow so as to avoid having large lumpy lines under
your
> wig.


When I was on Jack of All trades we were wigged and how they dealt with lots
of hair (including mine) was to use four french plaits which circled the
head.
First was a row from one ear across the front to the other, then aonther
from that ear to the first along the bottom and the hair on the crown
treated the same way. So you have 4 alternating plaits. They then wrapped
the hair between each row and pinned in place.

The french plaiting gives an extremely secure base to pin the wig to:)

I thionk with longer hair than I have (nearly sittable) you might try a few
more plaits especially if it's thick..

This method also gives even coverage on the head so no real lumps and
bumps:)

michaela
http://recital.tripod.com/costume



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Date: Wed, 29 Jan 2003 18:48:14 -0500
Status: RO

That method sounds great...but I assume it requires somebody to braid your
hair for you, as I can't imagine how I'd manage french braids in weird
directions on my own head.  Alas, I'm the only person I know who knows how
to french braid.   Hmph.

-- Maral

----- Original Message -----
From: "michaela" <thebruce@ihug.co.nz>
To: <h-costume@indra.com>
Sent: Wednesday, January 29, 2003 6:19 PM
Subject: Re: [h-cost] Re: CC 21


>
> > I have hair to my knees, and it *definitely* affects wig sizing.  With
> most
> > wigs I have to pin-curl the heck out of my hair, with a wig cap, and
even
> > then the wigs are pretty tight.  Braids would probably work too, but
> they'd
> > need to be fairly narrow so as to avoid having large lumpy lines under
> your
> > wig.
>
>
> When I was on Jack of All trades we were wigged and how they dealt with
lots
> of hair (including mine) was to use four french plaits which circled the
> head.
> First was a row from one ear across the front to the other, then aonther
> from that ear to the first along the bottom and the hair on the crown
> treated the same way. So you have 4 alternating plaits. They then wrapped
> the hair between each row and pinned in place.
>
> The french plaiting gives an extremely secure base to pin the wig to:)
>
> I thionk with longer hair than I have (nearly sittable) you might try a
few
> more plaits especially if it's thick..
>
> This method also gives even coverage on the head so no real lumps and
> bumps:)
>
> michaela
> http://recital.tripod.com/costume
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: [h-cost] OT: Library Science
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Date: Wed, 29 Jan 2003 17:14:51 -0800
Status: RO

Hi Mara,

I'm one of the many librarians!  I'm an academic librarian -- I work at USC
in Southern California.  Let me know what I can do to help!

- Kendra

----- Original Message -----
From: "Kevin + Mara" <lindo@radix.net>
To: <h-costume@indra.com>
Sent: Thursday, January 23, 2003 3:24 PM
Subject: [h-cost] OT: Library Science


> This is off-topic...  but, I know that some of the folks on this list are
> librarians.  Could you please email me off-list?  I'm contemplating a
> change of career course, and have a few questions.
>
> Thanks,
> Mara
>
>
> Kevin + Mara Riley
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Wed, 29 Jan 2003 17:26:08 -0800
Status: RO

Thank you SO MUCH to all of those who recommended Jo-Mar Fabrics in
Philadelphia -- I spent $200 and got 10 yards of plaid dupioni silk, 10
yards of acetate taffeta, probably about 20 yards of wool, 5 yards of silk
prints, 10 yards of rayon, 5 yards of mystery fabric, plus lining fabric for
nearly every project.  It was just fabulous, especially for wools -- they
had rack after rack after rack!

Thank you thank you thank you!

- Kendra

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From: "Lisa Sinervo" <lisa-list@threadneedlest.com>
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Subject: [h-cost] Gothic Fitted Dress Workshop
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Date: Wed, 29 Jan 2003 17:55:56 -0800
Status: RO

Robin wrote
>
> --Robin, catching up on 600 emails after a wonderful but exhausting
> workshop weekend in California
>
I must thank you for taking the time to make the trip and share your
knowledge.  You are a wealth of information in person as on the list and
just as nice to boot!  For anyone else interested in this dress, I would
highly recommend making the effort to attend one of Robin's classes or at
least understand the approach she has to making this garment.

I used to live in Brisbane which has a very high number of Medieval
re-enactment groups, probably due to the fact the people who once
established the Abbey Folk Park in New Barnett outside of London packed up
and moved to Australia and established a lovely little museum with the
collection they brought with them.  As a result, I have looked at many many
serious attempts at making this dress, many very beautiful, but rarely was
the silhouette successful.  Robin wore her dress and indeed she had the
gothic slouch in the garment, and by comparison, in street clothes she does
not.  My bets are this would be the way, or very close to how this period
dress would be constructed.

A wonderful workshop indeed!

Lisa Sinervo


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Subject: Re: [h-cost] Glass pearls
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Date: Wed, 29 Jan 2003 19:08:24 -0700
Status: RO

I have glass pearls on some of my SCA garb.  It washes okay, but I do it
by hand.  Larger items get washed in the bathtub.
--sue

Melanie Unruh-Bays wrote:
> 
> Can you launder glass pearls? I'm thinking about putting them on a headdress that will have to be laundered. Is there a better choice?
>
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Re: Philadelphia sights -OT
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Date: Wed, 29 Jan 2003 22:21:08 -0500
Status: RO

On Wednesday 29 January 2003 10:50 am, Tasha McGann wrote:
> > have fun!  AND! check out the open air food market.
>
> It took me a moment to realize what you were talking
> about.. You must mean the Italian Market, which is on
> South 9th Street, beginning somewhere around Catherine
> or Carpenter Streets and going South from there, I
> believe.

It's the largest open-air produce and extra market I know of, though there are 
others in the Philly 'burbs in the summer if you know where to look.

>
> Indeed if the weather is better by the time you're
> here, it's worth a stroll, if just to soak up the wild
> diversity of cultures hawking wares on the streets,
> usually as an extension of their storefront directly
> behind them. There's also an excellent kitchen supply
> place there, called Fante's where you can find the
> most amazing and arcane implements, as well as
> charming and interesting sales help.

Be careful where you walk, though.  South Philly around the Italian Market is 
pretty safe by day, but most of the parts of town north of Center City 
aren't.


> For a more tourist-friendly experience, try the
> Reading Terminal Market -- a huge market resembling a
> street market inside an old train terminal. It takes
> up an entire city block in downtown Philly, between
> 11th and 12th and Filbert and Arch Streets. You can
> find food from all corners of the world here, and it's
> great for people-watching.

They domesticated Reading Terminal Market when they built the Convention 
Center (the current site is actually not the original one)  but there are 
still some interesting things.  Actually, Reading Terminal Market is not so 
much a market (though there are some vendors including some interesting 
crafts places and at least one used-book seller) as it is a kind of food 
court with different kinds of ethnic food.  If you make it to Philly at all, 
it's a must-see (or, more exactly, a must-eat).  :-)

And on the trail of fabric shops, there is a concentration of them in the 
"Fabric District" which begins at about 4th and Bainbridge (roughly a 10 
block walk from Reading Terminal Market, but most of the blocks are short in 
that part of Philly).   Most of the stores are *on* 4th as you continue 
walking south.  They aren't cheap, but they have an amazing variety, and some 
of them give discounts to SCA members and might give discounts to members of 
costume related organizations.  I don't get down there much, but my favorite 
is Kincus Fabrics.  When I need something unusual I go there--so far, I've 
never been disappointed.
 
On your way to and from the Fabric District, check out South Street.  It's 
funky, trendy, and too full of tourists on weekends (even in cold weather), 
but there are stores that sell interesting jewelry, and some very bizarre 
contemporary clothing.


-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Wed, 29 Jan 2003 22:08:40 -0700
Status: RO



I know this may be a little off topic (not to mention strange), but I
was wondering if anyone knew of any period (1500-1650) gestures which
might be equivalent to giving someone the bird or telling them to 'bite
me'?


Sg


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Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Wed, 29 Jan 2003 22:15:24 -0700
Status: RO

http://www.armourarchive.org/armour_dukes_burgundy/
 
Down towards the bottom of the page there is a plate of armor that has
two such gestures.   Does anyone know the meaning?

Sg



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Date: Wed, 29 Jan 2003 21:55:10 -0800 (PST)
Status: RO


> http://www.armourarchive.org/armour_dukes_burgundy/
>  
> Down towards the bottom of the page there is a plate of armor that has
> two such gestures.   Does anyone know the meaning?

Okay, the fist with the thumb tucked in is the Fico de Mano, which 
strictly speaking isn't obscene.  It's still used as a protective 
charm against the evil eye in Italy today.  However, if you bite your
thumb while making that gesture, it's definitely "Bite me!"  In Romeo
and Juliet, when one of the fighters asks, "Do you bite your thumb at me,
sir?" it's that gesture he's talking about.  

The hand on the left is making the sign of the horns, in essence calling
someone a cuckold.  Sometimes the hand is held up to the forehead just to
make the point crystal clear.  

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] Re: 16C Clothing & Culture. - Huntingdon Library
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Date: Wed, 29 Jan 2003 21:19:02 -0800
Status: RO

At 1:41 PM +0000 1/28/03, Rachel wrote:
>  > Just a heads up for anyone who is interested.  The living history
>group I belong to "The Tudor
>>  Group" is putting on an exhibit at the V&A Musuem on the 22nd and
>23rd of March 2003.  I'll be
>>  doing my embroidery but there is lots more as described below from
>our website
>  > (www.tudorgroup.co.uk):

That same weekend (specifically March 23rd) my Renaissance guild 
(http://www.guildofstgeorge.com) is putting on a modest exhibit, 
including a dance performance, at the Huntingdon Library in near Los 
Angeles (California), which has a special exhibition on Queen 
Elizabeth I that runs through June.

I got invited to come down and bring my (period) embroidery frame, 
but I have to be someplace else that weekend <sniff!>.

(And in case anyone's wondering, the reason it's _that_ weekend is 
that Queen Elizabeth died March 24th, 1603...)
-- 
____________________________________________________________
O  Christian Ashley, gentlewoman to Lady Stafford
|     Chris Laning  <claning@igc.org>
+   Guild of St. George, Northern California
____________________________________________________________

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Subject: [h-cost] Exhibit in LA:  Fashion and Transgression
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Date: Wed, 29 Jan 2003 22:40:15 -0800
Status: RO

Open until April 12, 2003 at the USC Fisher Gallery.

http://www.usc.edu/org/fishergallery/exhibitions_current.shtml

- Kendra

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Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 22:35:32 +1100
Status: RO

From: "Lee Thompson-Herbert" <lee@retro.com> wrote..
> > http://www.armourarchive.org/armour_dukes_burgundy/
> >
> > Down towards the bottom of the page there is a plate of armor that has
> > two such gestures.   Does anyone know the meaning?
>
> Okay, the fist with the thumb tucked in is the Fico de Mano, which
> strictly speaking isn't obscene.  It's still used as a protective
> charm against the evil eye in Italy today.  However, if you bite your
> thumb while making that gesture, it's definitely "Bite me!"  In Romeo
> and Juliet, when one of the fighters asks, "Do you bite your thumb at me,
> sir?" it's that gesture he's talking about.
>
> The hand on the left is making the sign of the horns, in essence calling
> someone a cuckold.  Sometimes the hand is held up to the forehead just to
> make the point crystal clear.

I would have said the symbol on the left is also a warding sign more
commonly known as the Mano Cornuto. Given that the symbol on the right is
probably also a warding sign it seems to make more sense that the other is
too.

As for obscene gestures how about the 'V' for victory? Same as giving
someone the bird but with two fingers? This apparently dates back to the
battle of Agincourt (and King Branagh :-)) After their rather humiliating
defeat any archers captured by French soldiers had the first two fingers of
his right hand cut off. What started as a defiant gesture by English Archers
effectively saying "I still have my archery fingers!" has passed down
through history as symbolic of defiance in general.

Paul
--
It's easier to ask forgiveness than to get permission. - W. Slovotsky
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 11:51:10 +0000 (GMT)
Status: RO

 --- Baralier <baralier@optusnet.com.au> wrote: > 

> As for obscene gestures how about the 'V' for victory? Same as giving
> someone the bird but with two fingers? 

Oh no no no no no *panic mode* :-) there is a great big difference. I remember
on a TV appearance I think it was one of the Royals (?) or Downing Street or
someone who almost did the V sign wrong. The V for Victory sign is perfectly
(!) acceptable and good and lovely, but if you turn the hand round it gets
rude, and then you also wave it, in a 'come hither you plonker' gesture kind of
way. The V with the index and middle finger and the palm outwards is fine, the
V with the palm inwards is rude and does NOT stand for Victory. Important
difference to remember when being in England! ;-)
Well, some others may correct me, but this is how I was taught and told and see
people doing all over the place.

This apparently dates back to the
> battle of Agincourt (and King Branagh :-)) After their rather humiliating
> defeat any archers captured by French soldiers had the first two fingers of
> his right hand cut off. What started as a defiant gesture by English Archers
> effectively saying "I still have my archery fingers!" has passed down
> through history as symbolic of defiance in general.

Yeah but on the Continent they have NEVER everheard about this gestur, it has
no meaning. So when I drive in Germany or Belgium I use the waving version of
the rude V if I have to, which makes me feel better but them not feel bad.

Nicole 

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Date: Thu, 30 Jan 2003 12:24:15 +0000
Status: RO

Nicole wrote:

>>This apparently dates back to the
>> battle of Agincourt (and King Branagh :-)) After their rather humiliating
>> defeat any archers captured by French soldiers had the first two fingers >>of his right hand cut off. What started as a defiant gesture by English >>Archers effectively saying "I still have my archery fingers!" has passed >>down through history as symbolic of defiance in general.

>Yeah but on the Continent they have NEVER everheard about this gestur, >it hasno meaning. So when I drive in Germany or Belgium I use the waving >version of the rude V if I have to, which makes me feel better but them not >feel bad.

Yes, I think the Urban Legends website has an article disproving the Agincourt theory, which anyway doesn't explain why the two-fingers gesture should be regarded as obscene. (When I was an innocent schoolgirl, I used to think I was the only one who didn't know what it meant; later, I read in one of Desmond Morris's books that no-one really knows...)

Kate Bunting
Library, University of Derby


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Date: Thu, 30 Jan 2003 12:35:25 -0000
Status: RO

> (When I was an innocent schoolgirl, I used to think I was the only one who
didn't know what it meant; later,

I always assumed it refered to a girls legs & well ....bits ! Only later did
I hear the archers idea. I've read it in many places I suppose check the
medieval archer might help

Mel
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Date: Thu, 30 Jan 2003 07:41:42 -0700
Status: RO

Darn!  I really liked the Archer theory!  Nicole, I am still not exactly
clear what the turned around V waving means.   What is a plonker?  :)

If the answer for us dolts is too graphic, feel free to tell me off
line!

Sg

Can't wait till the rest of the h-costume world wakes up to this
request!
Thanks for my early morning coffee/computer presents!

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Date: Thu, 30 Jan 2003 14:41:28 -0000
Status: RO

There are several interesting books on gestures see
http://www.amazon.co.uk/exec/obidos/search-handle-url/index=books&field-subj
ect=Gesture./202-2143972-6707858 for instance

Mel

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From h-costume-admin@indra.com  Thu Jan 30 09:46:43 2003
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From: Katy Bishop <vintage@shore.net>
To: michiko <michiko@michiko.com>
cc: h-costume@indra.com
Subject: Re: [h-cost] Vienna Opera Ball - ballgown styles?
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Date: Thu, 30 Jan 2003 09:12:05 -0500 (EST)
Status: RO


Hi, if you would be interested in 1890's dance clothing styles, I have
just copied off our 1890's evening dress sheet for our upcoming 1890's
ball in Newport RI.  I could send you a copy.  It shows ladies and gents
fashions as well as shoe and hairstyles ideas.

Katy

On Sun, 26 Jan 2003, michiko wrote:

>Hi!
>
>My name's Michiko and I'm new to the list - thanks for letting me be here! :)
>
>Just found out I've got a rare opportunity to attend the Opera Ball
>in Vienna on Feb 27th, and I'm trying to learn as much as possible,
>as quickly as possible, about the era (I believe their website lists
>mid-late 1800s as the time period) in order to design and make
>something for it.
>
>I've got a stack of library books here on costume from that period,
>but am noticing that things are listed as Victorian or Edwardian
>etc....and is that (this is perhaps a really dumb question :) only
>for English styles around that time?
>
>Is there a good book or film or website that you might want to
>recommend, specifically showing Vienna waltz ballgowns from that era?
>I know 'mid-late 1800s' is quite a range, and am trying to hone in
>better on a look as well...but am so far a bit overwhelmed (in a good
>way of course - such great stuff to look at! But...time is ticking
>away... :)
>
>I'm tempted to think Amadeus but their site said something along the
>lines of 'not so much boob' :) and I'm not sure if the looks was
>extravagant (shiny satins?) or more demure (whether I could put a
>twist on it by doing up a fancy dress style and keeping it muslin? Or
>is that a tired idea? :) I have some jpgs for reference but am not
>sure whether they're historically accurate (have a sense they're more
>wedding gowns inspired by the period than remaining accurate to it)
>and would be happy to attach those (they're small files) if anyone'd
>like to have a look and a comment, but I didn't want to spam you with
>them, thanks!
>
>I'm located in Manhattan and am new to designing/making costumes (I'm
>a professional illustrator/character designer), I hope these aren't
>super-naive questions. I'd love any tips or leads you might care to
>offer, and thanks so much for taking the time to read this.
>
>Hope you're all having a great weekend!
>
>Best regards,
>Michiko
>
>--
>
>
>
>
>----------------------------------------
>Michiko Stehrenberger
>Illustration & Character Design
>BimBionic Design Lab | New York
>http://www.michiko.com
>----------------------------------------
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>

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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Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Fri, 31 Jan 2003 00:41:52 +1100
Status: RO

From: "N Kipar" <nicolas_fouquet@yahoo.com> wrote...
> --- Baralier <baralier@optusnet.com.au> wrote: >
>
> > As for obscene gestures how about the 'V' for victory? Same as giving
> > someone the bird but with two fingers?
>
> Oh no no no no no *panic mode* :-) there is a great big difference. I
remember
> on a TV appearance I think it was one of the Royals (?) or Downing Street
or
> someone who almost did the V sign wrong. The V for Victory sign is
perfectly
> (!) acceptable and good and lovely, but if you turn the hand round it gets
> rude, and then you also wave it, in a 'come hither you plonker' gesture
kind of
> way. The V with the index and middle finger and the palm outwards is fine,
the
> V with the palm inwards is rude and does NOT stand for Victory. Important
> difference to remember when being in England! ;-)
> Well, some others may correct me, but this is how I was taught and told
and see
> people doing all over the place.

Sorry my bad. Yes I know that if you see the back of the person's hand
towards you it's an insult but if you see the thumb and remaining fingers
it's the piece or victory sign.

Remember a lovely joke about the V being the international signal for
drag-racing: made famous by Winston Churchill who would offer his cigar to
his friends and say "Wanna drag?" :-)

Paul
--
It's easier to ask forgiveness than to get permission. - W. Slovotsky
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 14:58:48 +0000 (GMT)
Status: RO

 --- Saragrace Knauf <saragrace@earthlink.net> wrote: 

> Darn!  I really liked the Archer theory!  

Me too (as a British archer, from time to time)

> Nicole, I am still not exactly
> clear what the turned around V waving means. 

V with palm out, Victory, something like thumbs up,
not offensive. A bit dated now, though.

V, palm in, meaning probably biological. Waving it
moves the extended fingers up and down, implying, er,
action on the part of the bit of anatomy being
represented....


>  What is a plonker?  :)

In most of the UK, a stupid person: not a very strong
word.  In a few places, also means a part of the male
anatomy. So be careful!



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Date: Thu, 30 Jan 2003 15:00:42 +0000
Status: RO

I think what Nicole meant was that the Churchillian V-for-Victory sign has the palm forwards, but a V-sign with the back of the hand showing is (in Britain) considered very rude, though the precise reason is unclear.
"Plonker" is fairly recent British slang for a foolish person.



Kate Bunting
Library, University of Derby

>>> saragrace@earthlink.net 01/30/03 02:41pm >>>
Darn!  I really liked the Archer theory!  Nicole, I am still not exactly
clear what the turned around V waving means.   What is a plonker?  :)

If the answer for us dolts is too graphic, feel free to tell me off
line!

Sg

Can't wait till the rest of the h-costume world wakes up to this
request!
Thanks for my early morning coffee/computer presents!

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Date: Thu, 30 Jan 2003 15:02:23 -0000
Status: RO

>What is a plonker? 

idiot, person with no brain etc

Mel

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From: "Saragrace Knauf" <saragrace@earthlink.net>
To: <h-costume@indra.com>
Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 08:08:00 -0700
Status: RO

 I just read online somewhere that it meant 'up your bum'-the sign, not
plonker.  Thanks

Sg


>-----Original Message-----
>From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com] On
>Behalf Of Kate M Bunting
>Sent: Thursday, January 30, 2003 8:01 AM
>To: h-costume@indra.com
>Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
>
>I think what Nicole meant was that the Churchillian V-for-Victory sign
has the palm
>forwards, but a V-sign with the back of the hand showing is (in
Britain) considered
>very rude, though the precise reason is unclear.
>"Plonker" is fairly recent British slang for a foolish person.
>
>
>
>Kate Bunting
>Library, University of Derby
>
>>>> saragrace@earthlink.net 01/30/03 02:41pm >>>
>Darn!  I really liked the Archer theory!  Nicole, I am still not
exactly
>clear what the turned around V waving means.   What is a plonker?  :)
>
>If the answer for us dolts is too graphic, feel free to tell me off
>line!
>
>Sg
>
>Can't wait till the rest of the h-costume world wakes up to this
>request!
>Thanks for my early morning coffee/computer presents!
>
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Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 15:18:28 +0000 (GMT)
Status: RO

 --- Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote: > >What is a
plonker? 
> 
> idiot, person with no brain etc

Yes..... but not in an extra nasty way. Dellboy in 'Only Fools and Horses'
always uses it. It's milder than other words.

Gosh this is wayyyyy OT now and I can't find a costume reference so I shut up.

Nicole

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Date: Thu, 30 Jan 2003 13:28:58 -0000
Status: RO

This is an acedemic ref to the archer conection which would on the face of
it seem to be more likely to be correct than an Urban myth page (a couple of
which I looked at & disagreed with some of their logic)
http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html

Mel

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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 09:05:01 -0500 (EST)
Status: RO

The book you need is "Gesture in Naples and Gesture in Classical
Antiquity", a translation of a 15th century Italian manuscript on hand
gestures.  There's hundreds. You can practically talk with your hand.
It's fascinating. I can't remember the author, unfortunately.

Good luck,

Drea

On Wed, 29 Jan 2003, Saragrace Knauf wrote:

>
>
> I know this may be a little off topic (not to mention strange), but I
> was wondering if anyone knew of any period (1500-1650) gestures which
> might be equivalent to giving someone the bird or telling them to 'bite
> me'?
>
>
> Sg
>
>
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 15:42:26 +0000 (GMT)
Status: RO

 --- Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote: > I think what Nicole
meant was that the Churchillian V-for-Victory sign has
> the palm forwards, but a V-sign with the back of the hand showing is (in
> Britain) considered very rude, though the precise reason is unclear.
> "Plonker" is fairly recent British slang for a foolish person.

I had promised to shut up, but.. :-)

Thanks Kate, this is exactly what I tried to say, but sometimes my
foreigner-English makes it a bit awkward to explain. Here is the photo of
Churchill giving the Victory sign:

http://www.learntoquestion.com/data/churchill_victory.jpg

Now imagine the hand turned the other way round with the back of the hand
showing to the other person, and add waving the fingers towards you, similar to
beckoning someone closer, but with those two V-opened fingers, and voila! You
are being as rude as sticking out the middle finger alone. :-) That only works
in Britain though!

Nicole

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Date: Thu, 30 Jan 2003 07:44:53 -0800
Status: RO

Could you mean the book subtitled 'a translation of Andrea de Jorio's 
"la mimica degli antichi investigata nel gestire napoletano"? If so, it 
was translated by Adam Kendon, but de Jorio was early 19th century, not 
15th century.
**It is listed on amazon UK

Liz

Drea Leed wrote:

>The book you need is "Gesture in Naples and Gesture in Classical
>Antiquity", a translation of a 15th century Italian manuscript on hand
>gestures.  There's hundreds. You can practically talk with your hand.
>It's fascinating. I can't remember the author, unfortunately.
>
>Good luck,
>
>Drea
>
>  
>
>  
>

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 16:01:12 +0000
Status: RO

I checked one of Desmond Morris's books during my tea-break; he doesn't mention the Agincourt theory, but gives a long list of possible obscene meanings of the V-sign, none of which is proven.
For those who wish to compare, the page debunking the theory (actually, I find, with reference to a one-finger gesture) is at http://www.snopes.com/language/apocryph/pluckyew.htm 
I shall now shut up about this topic.


Kate Bunting
Library, University of Derby


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Ta moko, was Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 16:14:06 +0000 (GMT)
Status: RO

 --- Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote: > 
> http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html

I just had to point to this, I just absolutely love the Maori facial tattoos
(okay, okay, is there anything I DON'T like about Maori guys? Nah..... *G*).
Click on the photo of the gentleman with the ta moko, the article is
fascinating. Does that count as historical clothing/adornment somehow?

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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Subject: [h-cost] New Hunnisett book
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Date: Thu, 30 Jan 2003 10:47:49 -0600
Status: RO

Look what I found while I was searching for another book.

http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?userid=2XRR81O0E
Q&isbn=0887346707&itm=1
**********************
Rebecca Schmitt
aka Agnes Cabot, wife of Master Peter Cabot, cod merchant of Bristol,
BRF FOF

A room without books is like a body without a soul
---Cicero

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


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Subject: Re: Ta moko, was Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 08:53:50 -0800
Status: RO

--=====================_3116656==.ALT
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Yeah! someone else who thinks the facial tattoos are very spiffy.
Now I have to watch "the Piano" again.. Harvey Keitel with Maori tattoos is 
almost as good as Harvey Keitel in hussars leggings >; )


At 04:14 PM 1/30/2003 +0000, N Kipar wrote:
>  --- Melanie Wilson <MelanieWilson@dragonflight.co.uk> wrote: >
> > http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html
>
>I just had to point to this, I just absolutely love the Maori facial tattoos
>(okay, okay, is there anything I DON'T like about Maori guys? Nah..... *G*).
>Click on the photo of the gentleman with the ta moko, the article is
>fascinating. Does that count as historical clothing/adornment somehow?
>
>Nicole

Gwyn Carnegie
University of California at Davis

--=====================_3116656==.ALT
Content-Type: text/html; charset="us-ascii"

<html>
<body>
<br>
Yeah! someone else who thinks the facial tattoos are very spiffy.<br>
Now I have to watch &quot;the Piano&quot; again.. Harvey Keitel with
Maori tattoos is almost as good as Harvey Keitel in hussars leggings
&gt;; )<br><br>
<br>
At 04:14 PM 1/30/2003 +0000, N Kipar wrote:<br>
<blockquote type=cite class=cite cite>&nbsp;--- Melanie Wilson
&lt;MelanieWilson@dragonflight.co.uk&gt; wrote: &gt; <br>
&gt;
<a href="http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html" eudora="autourl">http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html</a><br><br>
I just had to point to this, I just absolutely love the Maori facial
tattoos<br>
(okay, okay, is there anything I DON'T like about Maori guys? Nah.....
*G*).<br>
Click on the photo of the gentleman with the ta moko, the article 
is<br>
fascinating. Does that count as historical clothing/adornment
somehow?<br><br>
Nicole<br>
</blockquote>
<x-sigsep><p></x-sigsep>
<font color="#0000FF"><b>Gwyn Carnegie<br>
</font><font size=2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_3116656==.ALT--

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From h-costume-admin@indra.com  Thu Jan 30 12:55:17 2003
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Date: Thu, 30 Jan 2003 12:55:06 -0500
Status: RO

Yeah, lots of nice, nice wool. I found exactly what I wanted. But they only
ship to the U.S. :-(    Be warned! :-)

----- Original Message -----
From: "Colleen McDonald" <Colleen.McDonald@mackie.com>
>
> I've seen great wool at www.fashionfabricsclub.com.  Lots of wool and
different weights.
>
> Colleen
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From h-costume-admin@indra.com  Thu Jan 30 13:21:45 2003
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Date: Thu, 30 Jan 2003 10:21:47 -0800
Status: RO

--=====================_8393843==.ALT
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Argh... someone just bought the pendleton wool I was looking at from them 
between yesterday and this morning!

I've been to the Pendleton outlet and I know they almost always have what 
I'm looking for one one of the wall racks. I know someone posted the 
Washalug (sp?) telephone number for Pendleton but I deleted it. Could 
someone please repost it? Also, do they take credit card order for the 
discounted stock from the outlet?

Danke
Gwyn

At 12:55 PM 1/30/2003 -0500, you wrote:
>Yeah, lots of nice, nice wool. I found exactly what I wanted. But they only
>ship to the U.S. :-(    Be warned! :-)
>
>----- Original Message -----
>From: "Colleen McDonald" <Colleen.McDonald@mackie.com>
> >
> > I've seen great wool at www.fashionfabricsclub.com.  Lots of wool and
>different weights.
> >
> > Colleen

Gwyn Carnegie
University of California at Davis

--=====================_8393843==.ALT
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<html>
<body>
<br>
Argh... someone just bought the pendleton wool I was looking at from them
between yesterday and this morning!<br><br>
I've been to the Pendleton outlet and I know they almost always have what
I'm looking for one one of the wall racks. I know someone posted the
Washalug (sp?) telephone number for Pendleton but I deleted it. Could
someone please repost it? Also, do they take credit card order for the
discounted stock from the outlet? <br><br>
Danke<br>
Gwyn<br><br>
At 12:55 PM 1/30/2003 -0500, you wrote:<br>
<blockquote type=3Dcite class=3Dcite cite>Yeah, lots of nice, nice wool. I
found exactly what I wanted. But they only<br>
ship to the U.S. :-(&nbsp;&nbsp;&nbsp; Be warned! :-)<br><br>
----- Original Message -----<br>
From: &quot;Colleen McDonald&quot;
&lt;Colleen.McDonald@mackie.com&gt;<br>
&gt;<br>
&gt; I've seen great wool at
<a href=3D"http://www.fashionfabricsclub.com.=A0/" eudora=3D"autourl">www.fa=
shionfabricsclub.com.
</a> Lots of wool and<br>
different weights.<br>
&gt;<br>
&gt; Colleen<br>
</blockquote>
<x-sigsep><p></x-sigsep>
<font color=3D"#0000FF"><b>Gwyn Carnegie<br>
</font><font size=3D2>University of California at Davis <br>
</font></b></body>
</html>

--=====================_8393843==.ALT--

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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Thu, 30 Jan 2003 20:32:19 -0000
Status: RO

>Yes..... but not in an extra nasty way. Dellboy in 'Only Fools and Horses'
always uses it. It's milder than other words.

Hmm yes milder than some but it can be fairly nasty...

The wat Dell boy uses it is mild agreed

Mel

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Date: Thu, 30 Jan 2003 13:09:13 -0800 (PST)
Status: RO



since there was so much talk about the Titanic Jump Dress
on this list, I just had to post this...

the original is for sale on eBay, apparently..

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3308721929&category=18834

.heather.

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Date: Thu, 30 Jan 2003 21:46:58 -0000
Status: RO

Heather wrote:

> since there was so much talk about the Titanic Jump Dress
> on this list, I just had to post this...
>
> the original is for sale on eBay, apparently..
>
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3308721929&category
=18834
>

Well, before anyone jumps in and buys this it's probably wise to note
that the documentation refers to 'an' not 'the'.  I would imagine that
there were at least two, and maybe more, copies of the dress made, of
which this is one.

best wishes
Stevie
who always, always reads the small print:-(

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Date: Thu, 30 Jan 2003 13:39:23 -0800
Status: RO

Today a belated Christmas present arrived that my husband had mail 
ordered for me. It is a book titled _Royal Gowns_, by Katia 
Johansen. It was published in 1990, apparently by Rosenborg Palace. 
  It contains 112 pages of color pictures of clothes worn by Danish 
queens and princesses between about 1640 and 1960.  The descriptions 
are all in English (there is also a Danish edition).  My favorite is 
a densely embroidered 17th-century bodice.

My husband bought the book from:

Art Consulting:  Scandanavia
Books on Art & Architecture
3650 Cross Creek Road
Malibu, California 90265
http://www.nordicartbooks.com

They enclosed their print catalog, which is quite large.  Of 
interest may be a book on Swedish reform dress, some books on 
textiles and tapestries, and a whole section of non-textile-related 
books on the Vikings.

Fran

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


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Date: Thu, 30 Jan 2003 13:47:33 -0800
Status: RO

I have purchased costuming books from these sellers before as well.  They
are pleasant to deal with.

Agnes
----- Original Message -----
From: "Lavolta Press" <fran@lavoltapress.com>
To: <h-costume@indra.com>
Sent: Thursday, January 30, 2003 1:39 PM
Subject: [h-cost] Book and bookseller of interest


> Today a belated Christmas present arrived that my husband had mail
> ordered for me. It is a book titled _Royal Gowns_, by Katia
> Johansen. It was published in 1990, apparently by Rosenborg Palace.
>   It contains 112 pages of color pictures of clothes worn by Danish
> queens and princesses between about 1640 and 1960.  The descriptions
> are all in English (there is also a Danish edition).  My favorite is
> a densely embroidered 17th-century bodice.
>
> My husband bought the book from:
>
> Art Consulting:  Scandanavia
> Books on Art & Architecture
> 3650 Cross Creek Road
> Malibu, California 90265
> http://www.nordicartbooks.com
>
> They enclosed their print catalog, which is quite large.  Of
> interest may be a book on Swedish reform dress, some books on
> textiles and tapestries, and a whole section of non-textile-related
> books on the Vikings.
>
> Fran
>
> ---------------------------------------------
> Visit our web pages!
> Books on historic costume and vintage clothes
> http://www.lavoltapress.com
> Historic and vintage dance
> http://www.lavoltapress.com/dance
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: "Joan Broneske" <unicorn@softcom.net>
To: <h-costume@indra.com>
References: <200301302109.h0UL9DUx050176@jabberwock.wonderland.com> <008501c2c8a9$1dab77c0$8e1327d9@dan>
Subject: Re: [h-cost] Titanic dress...
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Date: Thu, 30 Jan 2003 13:48:46 -0800
Status: RO

I hope whoever wins it posts to us online costumers a *detailed* breakdown
of it's construction, preferably with pictures  :)


                  ,%%%,
             --==% `%%%,
                 |' )`%%,
                 \_/\ @%%,
                   __@@" %%%--"""-.%,
                  /`__|             \%%
                  \\  \   /   |     /'%,
                   \]  | /----'.   < `%,
Joan Broneske          ||       `>> >
unicorn@softcom.net    ||       ///`
                       /(      //(
----- Original Message -----
From: "Stevie Gamble" <stevie.gamble@btinternet.com>
To: <h-costume@indra.com>
Sent: Thursday, January 30, 2003 1:46 PM
Subject: Re: [h-cost] Titanic dress...


> Heather wrote:
>
> > since there was so much talk about the Titanic Jump Dress
> > on this list, I just had to post this...
> >
> > the original is for sale on eBay, apparently..
> >
> >
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3308721929&category
> =18834
> >
>
> Well, before anyone jumps in and buys this it's probably wise to note
> that the documentation refers to 'an' not 'the'.  I would imagine that
> there were at least two, and maybe more, copies of the dress made, of
> which this is one.
>
> best wishes
> Stevie
> who always, always reads the small print:-(
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Subject: Re: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Fri, 31 Jan 2003 09:02:58 +1100
Status: RO

> N Kipar <nicolas_fouquet@yahoo.com> wrote:
> http://www.learntoquestion.com/data/churchill_victory.jpg
> 
> Now imagine the hand turned the other way round with the back of the hand
> showing to the other person, and add waving the fingers towards you,
> similar to beckoning someone closer, but with those two V-opened fingers,
> and voila! You are being as rude as sticking out the middle finger alone. :-)
> That only works in Britain though!

Trust me, there's enough British culture in Australia and New Zealand that doing 
that to the wrong person is liable to result in having your head kicked in!

Don't know about Canada but I assume they're aware of it there.

Paul
--
It's easier to ask forgiveness than to get permission. - W. Slovotsky
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate
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Date: Thu, 30 Jan 2003 17:50:06 -0500
Status: RO

----- Original Message -----
From: "Baralier" <baralier@optusnet.com.au>
To: "h-costume @ indra . com" <h-costume@indra.com>
Sent: Thursday, January 30, 2003 5:02 PM
Subject: Re: RE: [h-cost] Obscene Period Gestures-(OT?)


> > N Kipar <nicolas_fouquet@yahoo.com> wrote:
> > http://www.learntoquestion.com/data/churchill_victory.jpg
> >
> > Now imagine the hand turned the other way round with the back of the
hand
> > showing to the other person, and add waving the fingers towards you,
> > similar to beckoning someone closer, but with those two V-opened
fingers,
> > and voila! You are being as rude as sticking out the middle finger
alone. :-)
> > That only works in Britain though!
>
> Trust me, there's enough British culture in Australia and New Zealand that
doing
> that to the wrong person is liable to result in having your head kicked
in!
>
> Don't know about Canada but I assume they're aware of it there.
>
> Paul
> --

>From my experience, only those of us who watch British TV. ^_^

-- Maral, proud Canuck


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Subject: Re: [h-cost] Titanic dress...
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Date: Fri, 31 Jan 2003 10:27:47 +1100
Status: RO

> since there was so much talk about the Titanic Jump Dress
> on this list, I just had to post this...
> the original is for sale on eBay, apparently..
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3308721929&category=18834

I'm not convinced it is authentic.  I've been doing a bit of Titanic
research lately because I'm making an Edwardian/Titanic dress, and the one
on ebay seems to be lacking a certain something.

One page I've been getting some reference from is here:
http://www.sensibility.com/titanic/
About 1/4 of the way down there are some very detailed photos of the dress.
Also the link to "Photos of the original "jump" dress and "Sinking" coat"
has some more good photos.

Karen
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Date: Fri, 31 Jan 2003 10:30:04 +1100
Status: RO

> Well, before anyone jumps in and buys this it's probably wise to note
> that the documentation refers to 'an' not 'the'.  I would imagine that
> there were at least two, and maybe more, copies of the dress made, of
> which this is one.

I know in my recent research that there was something like 27 copies of the
"sinking" dress so this one probably had many as well.

K
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Date: Fri, 31 Jan 2003 10:33:52 +1100
Status: RO

>
http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?userid=2XRR81O0E
> Q&isbn=0887346707&itm=1

I have Hunnisett's three dress books, is the one for cloaks etc that's
currently available worth it?  The books here cost about AU$140 so it's
quite an expense for a book if it's not really worth it.

Karen
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] paper clay doll
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Date: Fri, 31 Jan 2003 00:35:44 +0100
Status: RO

Hi.
As promised i have posted some pics of my first paper clay doll. 
Dont laugh :-)
Hopefully the next ones gets better and better. But it is fun.
She is not dressed yeat

http://www.my-drewscostumes.dk/my_first_paper_clay_doll.htm


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Subject: Re: [h-cost] Titanic dress...
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In a message dated 1/30/2003 6:29:24 PM Eastern Standard Time, 
smonster@optusnet.com.au writes:


> I know in my recent research that there was something like 27 copies of the
> "sinking" dress so this one probably had many as well.
> 

I doubt it had 27. It never got wet or needed to. They probably made about 3 
to 5.

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 1/30/2003 6:29:24 PM Eastern Standard Time, smonster@optusnet.com.au writes:<BR>
<BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I know in my recent research that there was something like 27 copies of the<BR>
"sinking" dress so this one probably had many as well.<BR>
</BLOCKQUOTE><BR>
</FONT><FONT  COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
I doubt it had 27. It never got wet or needed to. They probably made about 3 to 5.</FONT></HTML>

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Date: Fri, 31 Jan 2003 10:45:56 +1100
Status: RO

> As promised i have posted some pics of my first paper clay doll. 
> Dont laugh :-)

Can I just say WOW!!!

K
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Subject: Re: [h-cost] Titanic dress...
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Date: Thu, 30 Jan 2003 15:49:51 -0800
Status: RO


> I'm not convinced it is authentic.  I've been doing a bit of Titanic
> research lately because I'm making an Edwardian/Titanic dress, and the one
> on ebay seems to be lacking a certain something.
>
> One page I've been getting some reference from is here:
> http://www.sensibility.com/titanic/
> About 1/4 of the way down there are some very detailed photos of the
dress.
> Also the link to "Photos of the original "jump" dress and "Sinking" coat"
> has some more good photos.

Going back and forth between the two pages, the embroidery on the bodice (of
the one on ebay)seems to be very similar, but not exactly the same, and the
net overlay seems to be missing its patterning and the occasional jet
teardrop.

Just my 2 cents,
Pam Dotson


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I saw the current film while in NYC. What a disappointment.

Lousy costumes! They looked pulled....or like some designer started the 
project and Ruth Myers was brought in to finish up or something. Sometimes 
the men's coats has SHOULDER PADS....sometimes not. The collars and neckwear 
were positively sloppy. Christopher Plummer wears the ugliest grey striped 
waistcoat I've ever seen.

 And the best woman's costume is worn by Fanny Squeers. Kate wears a dress 
that is easily dated from the 1890s. Nicholas's Love has this thing that 
looks like several dresses sewn together...topped with a horizontally tucked, 
high necked false shirtwaist fill in from the teens....sewn to the outside of 
her outfit. You can see her sleeveless wedding dress on the web site. 

YUK!!!!!

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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I saw the current film while in NYC. What a disappointment.<BR>
<BR>
Lousy costumes! They looked pulled....or like some designer started the project and Ruth Myers was brought in to finish up or something. Sometimes the men's coats has SHOULDER PADS....sometimes not. The collars and neckwear were positively sloppy. Christopher Plummer wears the ugliest grey striped waistcoat I've ever seen.<BR>
<BR>
 And the best woman's costume is worn by Fanny Squeers. Kate wears a dress that is easily dated from the 1890s. Nicholas's Love has this thing that looks like several dresses sewn together...topped with a horizontally tucked, high necked false shirtwaist fill in from the teens....sewn to the outside of her outfit. You can see her sleeveless wedding dress on the web site. <BR>
<BR>
YUK!!!!!</FONT></HTML>

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Subject: Re: Ta moko, was Re: [h-cost] Obscene Period Gestures-(OT?)
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Date: Fri, 31 Jan 2003 12:54:46 +1300
Status: RO

> > http://masseynews.massey.ac.nz/magazine/2002_Nov/stories/questions.html
> I just had to point to this, I just absolutely love the Maori facial
tattoos
> (okay, okay, is there anything I DON'T like about Maori guys? Nah.....
*G*).
> Click on the photo of the gentleman with the ta moko, the article is
> fascinating. Does that count as historical clothing/adornment somehow?

Nicole you'll just have to come over here won't you;) Though to find blokies
with facial tatoos you are looking at touristy shows or the gangs;) In the
first instance probably temporary tatoos, in the later.. you probably won't
get close enough and if you do you may regret it;)

michaela


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Date: Fri, 31 Jan 2003 13:02:27 +1300
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<<I know in my recent research that there was something like 27 copies =
of the
"sinking" dress so this one probably had many as well.>>
<I doubt it had 27. It never got wet or needed to. They probably made =
about 3 to 5. >

You're right. Actually if you go to the web board from Jennie Chancey's =
site you'll find a discussion about it,=20
http://pub82.ezboard.com/fsensibilityfrm1.showMessage?topicID=3D1008.topi=
c

as well as on the titanicdresses yahoo group.
http://groups.yahoo.com/group/titanicdresses/?yguid=3D85892

The 27 swim dresses were because of the delicate nature of the dress(es) =
and all the action that happened in it. Some were even cut up so that =
Kate could actually wade through all the water without tripping over the =
dress. Yes it would have been more authentic to have her struggle with =
the dress but it would have held up shooting as well as the drive of the =
story if any of her stumbles were left in the film;)

There are about 3 Jump dresses. The harness dress which would have been =
altered as it was a stunt dress and had to go over the harness. =
Aparently it's all sewn as one piece. There is an underdress held at Fox =
studios which may have been a prototype. The original antique dress =
which was copied... and probably a hero costume for Kate to wear for all =
the other scenes (hero as in worn by the atcor rather than a double).

There are many things which suggest the dress is an altered Peterman:
The beads on the bodice are not in neat rows but more random.
The lace for the under dress looks like it matches the lace on the split =
over skirt which it does not in the movie.

This dress also looks to be the same as the one offered through Chrities =
which was returned as it was found to not be film original.

michaela
http://recital.tripod.com/costume


------=_NextPart_000_0084_01C2C929.014ADA00
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3Darial,helvetica><FONT lang=3D0 =
style=3D"BACKGROUND-COLOR: #ffffff"=20
face=3DArial color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF">&lt;&lt;I =
know in my recent=20
research that there was something like 27 copies of the<BR>"sinking" =
dress so=20
this one probably had many as well.&gt;&gt;</FONT></FONT></DIV>
<DIV><FONT face=3Darial,helvetica><FONT size=3D2>&lt;</FONT><FONT =
lang=3D0=20
style=3D"BACKGROUND-COLOR: #ffffff" face=3DArial color=3D#000000 =
size=3D3=20
FAMILY=3D"SANSSERIF">I doubt it had 27. It never got wet or needed to. =
They=20
probably made about 3 to 5.</FONT> &gt;</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>You're right. Actually if you go to the web =
board from=20
Jennie Chancey's site you'll find a discussion about it, </FONT></DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://pub82.ezboard.com/fsensibilityfrm1.showMessage?topicID=3D1=
008.topic">http://pub82.ezboard.com/fsensibilityfrm1.showMessage?topicID=3D=
1008.topic</A></FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>as well as on the titanicdresses yahoo =
group.</FONT></DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://groups.yahoo.com/group/titanicdresses/?yguid=3D85892">http=
://groups.yahoo.com/group/titanicdresses/?yguid=3D85892</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>The 27 swim dresses were because of the delicate =
nature of=20
the dress(es) and all the action that happened in it. Some were even cut =
up so=20
that Kate could actually wade through all the water without tripping =
over the=20
dress. Yes it would have been more authentic to have her struggle with =
the dress=20
but it would have held up shooting as well as the drive of the story if =
any of=20
her stumbles were left in the film;)</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>There are about 3 Jump dresses. The harness =
dress which=20
would have been altered as it was a stunt dress and had to go over the =
harness.=20
Aparently it's all sewn as one piece. There is an underdress held at Fox =
studios=20
which may have been a prototype. The original antique dress which was =
copied...=20
and probably a hero costume for Kate to wear for all the other scenes =
(hero as=20
in worn by the atcor rather than a double).</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>There are many things which suggest the dress is =
an=20
altered Peterman:</FONT></DIV>
<DIV><FONT face=3DArial>The beads on the bodice are not in neat rows but =
more=20
random.</FONT></DIV>
<DIV><FONT face=3DArial>The lace for the under dress looks like it =
matches the=20
lace on the split over skirt which it does not in the =
movie.</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>This dress also looks to be the same as the one =
offered=20
through Chrities which was returned as it was found to not be film=20
original.</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>michaela</FONT></DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://recital.tripod.com/costume">http://recital.tripod.com/cost=
ume</A></FONT></DIV>
<DIV>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_0084_01C2C929.014ADA00--


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Date: Thu, 30 Jan 2003 16:40:20 -0800
Status: RO


>As promised i have posted some pics of my first paper clay doll.
>Don't laugh :-)
>Hopefully the next ones get better and better. But it is fun.
>She is not dressed yet

Now you know why some of us have gotten into doll making.  I can do so many 
more outfits on dolls than I can afford to do for myself, and I find it 
more fun costuming for them anyway.  When I (finally) get a website, you'll 
see some of mine.

Kayta

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Date: Thu, 30 Jan 2003 21:39:11 -0500
Status: RO

On Thursday 30 January 2003 11:47 am, lotsofteapots@charter.net wrote:
> Look what I found while I was searching for another book.
>
> http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?userid=2XRR81O0
>E Q&isbn=0887346707&itm=1
> **********************
> Rebecca Schmitt
> aka Agnes Cabot, wife of Master Peter Cabot, cod merchant of Bristol,
> BRF FOF


Sorry, the URL above returned a message that said "Sorry, we have no such 
books" when I tried it (and I even tried typing it in).

What was the title?

-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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Date: Thu, 30 Jan 2003 22:46:12 -0500
Status: RO

I suggest re-stuffing the body more firmly.

I use a 3.25 mm steel crochet hook, the non-hooked end as a stuffing stick, but there are many many alternatives.

The trouble with hard-medium heads on cloth bodies is that the cloth tends to sag.
The stuffing 'softens up' & tends to sag more as it ages.

Firm stuffing will counter-act the sagging to some extent.


> As promised i have posted some pics of my first paper clay doll.
> Hopefully the next ones gets better and better. But it is fun.
> She is not dressed yet
>
> http://www.my-drewscostumes.dk/my_first_paper_clay_doll.htm
>
> Leif og Bjarne Drews

The head is good, & I quite liked the hands you made.
On your first try, too.  envy.


and welcome to doll making.

Ann in CT
Cecilia Dollmaker
23 years of making cloth dolls


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Date: Mon, 27 Jan 2003 19:51:09 -0500
Status: RO

On Mon, 27 Jan 2003 15:21:46 -0500, michiko <michiko@michiko.com> wrote:

>Also, got this info off the Lacy Wig site you provided (thanks Cathy!) and 
>just wanted to mention that since I'm in NYC (albeit not walking distance 
>from their location) that if anyone from outside of NYC needed me to go in 
>and have a look at the wigs for them...

Did you notice whether or not they have a showroom? I know a lot of 
mail-order places do *not* have either a showroom or a storefront; some 
don't even have a place where they can show merchandise to walk-ins from 
the trade...

>I'm curious about their wigs now...

I've been vaguely so, for a number of reasons, but have never gone further 
than idle musings. This may be a place I need to check out before faire 
season...

>and will probably go in to check it out in the next few weeks and can get 
>you info at the same time, if you need it.

Please let me know if there is, indeed, a showroom -- and if so, what their 
hours are...

>Lacey's Costume Wig
>505 8TH AVE. 11TH FL NEW YORK NY 10018


Brenda
webwarren@earthlink.net


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Titanic dress...
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Date: Thu, 30 Jan 2003 23:12:09 -0500
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Jennie Chancey and I have heavily researched Rose's costumes from Titanic.
Jennie is more knowledgeable than I.  She has re-subbed to h-costume since
the baby was born and her move.  So I will tell you what she has passed on
to me.

Jennie says there are four Jump dresses:
1. the original worn in the film owned by a couple in New Jersey
2. the antique dress sold to the film by Suzi's Antiques
3. a prototype for the European Titanic Costume Tour (it was not in the U.S.
tour)
4. one in the Fox Vault

The original owners of the actual jump dress and the sinking coat that were
used in the film are owned by a couple in New Jersey.  Jennie and I have
become really good friends with them and have met on several occasions.  The
couple were my guests at the Red Cross Ball last August.  Jennie is working
on writing a book about their costumes.  The couple have heavy documentation
that both costumes were the ones IN the film including a letter from Deborah
Scott, the film's costume designer.  They purchased the costumes directly
from J. Peterman, prior to the showing of the sell on the Today Show.  I
have seen the video from the show and J. Peterman states that he had sold
the original dress before the airing of the show.  Jennie and I have been
advising the couple about photography, storage and security for the
costumes.  They also own a J. Peterman's reproduction of the sinking coat to
fit the wife of the couple.  I have inspected it and had the wonderful
opportunity to try it on.  The couple stated that the reproduction sinking
coat is not as detailed the original.  I have photos of the reproduction's
details in my online class that I teach about Titanic's costumes.   Jennie
and I have also seen detailed professional photographs of both costumes.  I
advised the owners how to dress the costumes for photographing and I will be
the dresser for the costumes if they do go on exhibit.  Both costumes have
very stunning detail work on them.  The original jump dress has a tear in a
specific place that Deborah Scott documented in the letter to the couple as
the original in the film.  I have seen in person and read the entire letter.
Kate tore dress in the Jump scene in a specific location.  I have seen the
photographs and MS. Scott's description matches perfectly.

The original owners have been aware of all the goings on to sell the other
dress that has been showing up for sell.  The original owners have NO
intentions of selling their costumes.  They have spoke with several *people*
about the authicently of this dress that is floating around.  Jennie has
been writing me about the eBay dress. The dress from the other auction was
returned.   The details on the ebay or other auction dress is no where close
to the original.  Jennie and the couple are very upset that this *dress* has
popped up again.  The person who purchased the dress from Odessy Auctions
last year, contacted Jennie.  He said that he returned the dress after he
discovered that it still had a J. Peterman's reproduction garment tag. This
purchaser also contacted the owner's of the original film gown.

The harness dress was the one worn by Kate throughout the scenes.  It was
originally worn made for her double but Kate decided to do her own stunts.
The New Jersey couple's dress wardrobe tag states it is the harness dress
and that it was worn by Kate.

Jennie said the European Tour prototype dress is lacking a lot of details
from the film costume.  She has seen the photos and talked with a person who
inspected it at the exhibit.  The medallions on the bottom are shorted in
number (only two medallions) and they we not made in the same fashion as the
films.

Jennie also said the dress in the Fox Vault is missing the overlay and only
has the underskirt.

Just for a side note... the vintage dress that the Jump Dress was made from
was sold to the film by Suzi's Antiques from Farmville, VA.  Remember Suzi
and her mother were murdered a couple of years ago.  Suzi stated on our
local news that she had sold the film the antique dress.  I have a
transcript of the interview.  In a memorial article in People magazine, they
stated that Suzi sold the Jump Dress to the film.

An insider in the vintage industry told me that a lot of the antique
clothing sold to the film was sold back to the dealers.  In return the
dealers had to promise that they would not sell the items as that they were
not in the film.  Now if this is true, I bet my bottom dollar, that Suzi's
children would not sell that dress since Suzi received so much publicity for
it.

Swim Dress...

Jennie has documented that there were several copies of the swim dress.  I
believe she said there were up to 27 copies of the dress made because of the
wear and tear of the dress in the water.  This information was on the
exhibit card for the swim dress in 1998 U.S. tour. This is one of Jennie's
favorite dresses from the film.  I was with her when she inspected the Swim
Dress.  I received permission from Paramont to photograph the exhibit's
collection for my website.  Jennie is really good at looking at costumes and
knowing exactly how they are made and textiles used.  She spent about 30
minutes inspecting the Swim Dress.

If you want more information about Titanic's costumes you can go to Jennie's
website:
http://www.sensibility.com/titanic/index.htm
OR my website:
http://www.costumegallery.com/Titanic/Costumes.html

If you are interested in my 1912 film costumes, "Costume Analysis of Four
Films Set in 1912-1914" class go to:
www.costumeclassroom.com   class begins March 9.

FYI: Jennie and I composed this email together.

On last thing... I am leaving out of town shortly to do some research at the
Library of Congress.  I will not be back until Sunday.  If you have
questions or comments, please email me directly... but remember, I won't be
home until Sunday.

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


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<DIV>Jennie Chancey and I have heavily researched Rose's costumes from=20
Titanic.&nbsp; Jennie is more knowledgeable than I.&nbsp; She has =
re-subbed to=20
h-costume since the baby was born and her move.&nbsp; So I will tell you =
what=20
she has passed on to me.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Jennie says there are four Jump dresses:</DIV>
<DIV>1. the original worn in the film owned by a couple in New =
Jersey</DIV>
<DIV>2. the antique dress sold to the film by Suzi's Antiques</DIV>
<DIV>3. a prototype for the European Titanic Costume Tour (it was not in =
the=20
U.S. tour)</DIV>
<DIV>4. one in the Fox Vault</DIV>
<DIV>&nbsp;</DIV>
<DIV>The original owners of the actual jump dress and the sinking =
coat&nbsp;that=20
were used in the film&nbsp;are owned by a couple in New Jersey.&nbsp; =
Jennie and=20
I have become really good friends with them and have met on several=20
occasions.&nbsp; The couple were my guests at the Red Cross =
Ball&nbsp;last=20
August.&nbsp; Jennie is working on writing a book about their =
costumes.&nbsp;=20
The couple&nbsp;have heavy documentation that both costumes were the=20
ones&nbsp;IN the film including a letter from Deborah Scott, the film's =
costume=20
designer.&nbsp; They purchased the costumes directly from J. Peterman, =
prior to=20
the showing of the sell on the Today Show.&nbsp;&nbsp;I have seen the =
video from=20
the show and J. Peterman states that he had sold the original dress =
before the=20
airing of the show.&nbsp; Jennie and I have been advising the =
couple&nbsp;about=20
photography, storage and security for the costumes.&nbsp; They also own =
a J.=20
Peterman's reproduction of the sinking coat to fit the&nbsp;wife&nbsp;of =
the=20
couple.&nbsp; I have inspected it and had the wonderful opportunity to =
try it=20
on.&nbsp; The couple stated that the reproduction sinking coat is not as =

detailed the original.&nbsp; I have photos of the reproduction's details =

in&nbsp;my online class that I teach about Titanic's=20
costumes.&nbsp;&nbsp;&nbsp;Jennie and I have also seen detailed =
professional=20
photographs of both costumes.&nbsp; I advised the owners how to dress =
the=20
costumes for photographing and I will be the dresser for the =
costumes&nbsp;if=20
they do go on exhibit.&nbsp; Both costumes have very stunning detail =
work on=20
them.&nbsp; The original jump dress has a tear in a specific place that =
Deborah=20
Scott documented in the letter to the couple&nbsp;as the original in the =

film.&nbsp; I have seen in person and read the entire letter.&nbsp; Kate =

tore&nbsp;dress in the Jump scene in a specific location.&nbsp; I have =
seen the=20
photographs and&nbsp;MS. Scott's description matches perfectly.</DIV>
<DIV>&nbsp;</DIV>
<DIV>The original owners have been aware of all the goings on to sell =
the other=20
dress that has been showing up for sell.&nbsp; The original owners =
have&nbsp;NO=20
intentions of selling their costumes. &nbsp;They&nbsp;have spoke with =
several=20
*people* about the authicently of this dress that is floating =
around.&nbsp;=20
Jennie has been writing me about the eBay dress.&nbsp;The dress =
from&nbsp;the=20
other auction&nbsp;was returned.&nbsp;&nbsp; The details on the ebay=20
or&nbsp;other auction&nbsp;dress is no where close to the =
original.&nbsp; Jennie=20
and the couple are very upset that this *dress* has popped up =
again.&nbsp; The=20
person who purchased the dress from Odessy Auctions last year, contacted =

Jennie.&nbsp; He said that he returned the dress after he discovered =
that it=20
still had a J. Peterman's reproduction&nbsp;garment tag.&nbsp;This=20
purchaser&nbsp;also contacted the owner's of the original=20
film&nbsp;gown.&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>The harness dress was the one worn by Kate throughout the =
scenes.&nbsp; It=20
was originally worn made for&nbsp;her double but Kate decided to do her =
own=20
stunts.&nbsp; The New Jersey couple's dress wardrobe&nbsp;tag =
states&nbsp;it is=20
the harness dress and that it was worn&nbsp;by Kate.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Jennie said the European Tour prototype&nbsp;dress is lacking a lot =
of=20
details from the film costume.&nbsp; She has seen the photos and talked =
with a=20
person who inspected it at the exhibit.&nbsp; The medallions on the =
bottom are=20
shorted in number (only two medallions) and they we not made in the same =
fashion=20
as the films.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Jennie also said the dress in the Fox Vault is missing the overlay =
and only=20
has the underskirt.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Just for a side note... the&nbsp;vintage dress that the Jump Dress =
was made=20
from was sold to the film by Suzi's Antiques from Farmville, VA.&nbsp; =
Remember=20
Suzi and her mother were murdered a couple of years ago.&nbsp; Suzi =
stated on=20
our local news that she had sold the film&nbsp;the antique dress.&nbsp; =
I have a=20
transcript of the interview.&nbsp; In a memorial article in People =
magazine,=20
they stated that Suzi sold the Jump Dress to the film.</DIV>
<DIV>&nbsp;</DIV>
<DIV>An insider in the vintage industry told me that a lot of the =
antique=20
clothing sold to the film was sold back to the dealers.&nbsp;&nbsp;In =
return the=20
dealers had to promise that they would not sell the items as that they =
were not=20
in the film.&nbsp; Now if this is true, I bet my bottom =
dollar,&nbsp;that Suzi's=20
children would not sell that dress since Suzi received so much publicity =
for=20
it.&nbsp;&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>Swim Dress...</DIV>
<DIV>&nbsp;</DIV>
<DIV>Jennie has documented that there were several copies of the swim=20
dress.&nbsp; I believe she said there were up to 27 copies of the dress =
made=20
because of the wear and tear of the dress in the water.&nbsp; This =
information=20
was on the exhibit card&nbsp;for the swim dress in 1998 U.S. =
tour.&nbsp;This is=20
one of Jennie's favorite dresses from the film.&nbsp; I was with her=20
when&nbsp;she inspected the Swim Dress.&nbsp; I received permission from =

Paramont to photograph the exhibit's collection for my website.&nbsp; =
Jennie is=20
really good at looking at costumes and knowing exactly how they are made =
and=20
textiles used.&nbsp; She spent about 30 minutes inspecting the Swim =
Dress.&nbsp;=20
</DIV>
<DIV>&nbsp;</DIV>
<DIV>If you want more information about&nbsp;Titanic's costumes you can =
go to=20
Jennie's website:</DIV>
<DIV><A=20
href=3D"http://www.sensibility.com/titanic/index.htm">http://www.sensibil=
ity.com/titanic/index.htm</A></DIV>
<DIV>OR my website:</DIV>
<DIV><A=20
href=3D"http://www.costumegallery.com/Titanic/Costumes.html">http://www.c=
ostumegallery.com/Titanic/Costumes.html</A>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>If you are interested in my 1912 film costumes, "Costume Analysis =
of Four=20
Films Set in 1912-1914"&nbsp;class go to:</DIV>
<DIV><A=20
href=3D"http://www.costumeclassroom.com">www.costumeclassroom.com</A>&nbs=
p;=20
&nbsp;class begins March 9.</DIV>
<DIV>&nbsp;</DIV>
<DIV>FYI: Jennie and I composed this email together.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>On last thing... I am leaving out of town shortly to do some =
research at=20
the Library of Congress.&nbsp; I will not be back until Sunday.&nbsp; If =
you=20
have questions or comments, please email me directly... but remember, I =
won't be=20
home until Sunday.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
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From: "Kendra Van Cleave" <kendrav@attbi.com>
To: <h-costume@indra.com>
References: <3E399B8B.4080202@lavoltapress.com>
Subject: Re: [h-cost] Book and bookseller of interest
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Date: Thu, 30 Jan 2003 20:12:36 -0800
Status: RO

Thanks for posting this, Fran.  What time periods does the book cover?  I
couldn't tell from the book description.

- Kendra

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Subject: [h-cost] I'm looking for an image
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Date: Thu, 30 Jan 2003 23:11:21 -0500
Status: RO

Does anyone have an image of Bronzino's portrait of Laura Battiferri that
they're willing to share? I can't find my Italian-language book about
Bronzino and it's the only one with her in it.

Thanks!
kate

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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Titanic dress...
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Date: Thu, 30 Jan 2003 23:17:15 -0500
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Sorry... that is Jennie has NOT re-subbed to h-costume since the baby was
born and her move.

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
  To: h-costume@indra.com
  Cc: Jennie
  Sent: Thursday, January 30, 2003 11:12 PM
  Subject: Re: [h-cost] Titanic dress...


  Jennie Chancey and I have heavily researched Rose's costumes from Titanic.
Jennie is more knowledgeable than I.  She has re-subbed to h-costume since
the baby was born and her move.  So I will tell you what she has passed on
to me.

  Jennie says there are four Jump dresses:
  1. the original worn in the film owned by a couple in New Jersey
  2. the antique dress sold to the film by Suzi's Antiques
  3. a prototype for the European Titanic Costume Tour (it was not in the
U.S. tour)
  4. one in the Fox Vault

  The original owners of the actual jump dress and the sinking coat that
were used in the film are owned by a couple in New Jersey.  Jennie and I
have become really good friends with them and have met on several occasions.
The couple were my guests at the Red Cross Ball last August.  Jennie is
working on writing a book about their costumes.  The couple have heavy
documentation that both costumes were the ones IN the film including a
letter from Deborah Scott, the film's costume designer.  They purchased the
costumes directly from J. Peterman, prior to the showing of the sell on the
Today Show.  I have seen the video from the show and J. Peterman states that
he had sold the original dress before the airing of the show.  Jennie and I
have been advising the couple about photography, storage and security for
the costumes.  They also own a J. Peterman's reproduction of the sinking
coat to fit the wife of the couple.  I have inspected it and had the
wonderful opportunity to try it on.  The couple stated that the reproduction
sinking coat is not as detailed the original.  I have photos of the
reproduction's details in my online class that I teach about Titanic's
costumes.   Jennie and I have also seen detailed professional photographs of
both costumes.  I advised the owners how to dress the costumes for
photographing and I will be the dresser for the costumes if they do go on
exhibit.  Both costumes have very stunning detail work on them.  The
original jump dress has a tear in a specific place that Deborah Scott
documented in the letter to the couple as the original in the film.  I have
seen in person and read the entire letter.  Kate tore dress in the Jump
scene in a specific location.  I have seen the photographs and MS. Scott's
description matches perfectly.

  The original owners have been aware of all the goings on to sell the other
dress that has been showing up for sell.  The original owners have NO
intentions of selling their costumes.  They have spoke with several *people*
about the authicently of this dress that is floating around.  Jennie has
been writing me about the eBay dress. The dress from the other auction was
returned.   The details on the ebay or other auction dress is no where close
to the original.  Jennie and the couple are very upset that this *dress* has
popped up again.  The person who purchased the dress from Odessy Auctions
last year, contacted Jennie.  He said that he returned the dress after he
discovered that it still had a J. Peterman's reproduction garment tag. This
purchaser also contacted the owner's of the original film gown.

  The harness dress was the one worn by Kate throughout the scenes.  It was
originally worn made for her double but Kate decided to do her own stunts.
The New Jersey couple's dress wardrobe tag states it is the harness dress
and that it was worn by Kate.

  Jennie said the European Tour prototype dress is lacking a lot of details
from the film costume.  She has seen the photos and talked with a person who
inspected it at the exhibit.  The medallions on the bottom are shorted in
number (only two medallions) and they we not made in the same fashion as the
films.

  Jennie also said the dress in the Fox Vault is missing the overlay and
only has the underskirt.

  Just for a side note... the vintage dress that the Jump Dress was made
from was sold to the film by Suzi's Antiques from Farmville, VA.  Remember
Suzi and her mother were murdered a couple of years ago.  Suzi stated on our
local news that she had sold the film the antique dress.  I have a
transcript of the interview.  In a memorial article in People magazine, they
stated that Suzi sold the Jump Dress to the film.

  An insider in the vintage industry told me that a lot of the antique
clothing sold to the film was sold back to the dealers.  In return the
dealers had to promise that they would not sell the items as that they were
not in the film.  Now if this is true, I bet my bottom dollar, that Suzi's
children would not sell that dress since Suzi received so much publicity for
it.

  Swim Dress...

  Jennie has documented that there were several copies of the swim dress.  I
believe she said there were up to 27 copies of the dress made because of the
wear and tear of the dress in the water.  This information was on the
exhibit card for the swim dress in 1998 U.S. tour. This is one of Jennie's
favorite dresses from the film.  I was with her when she inspected the Swim
Dress.  I received permission from Paramont to photograph the exhibit's
collection for my website.  Jennie is really good at looking at costumes and
knowing exactly how they are made and textiles used.  She spent about 30
minutes inspecting the Swim Dress.

  If you want more information about Titanic's costumes you can go to
Jennie's website:
  http://www.sensibility.com/titanic/index.htm
  OR my website:
  http://www.costumegallery.com/Titanic/Costumes.html

  If you are interested in my 1912 film costumes, "Costume Analysis of Four
Films Set in 1912-1914" class go to:
  www.costumeclassroom.com   class begins March 9.

  FYI: Jennie and I composed this email together.

  On last thing... I am leaving out of town shortly to do some research at
the Library of Congress.  I will not be back until Sunday.  If you have
questions or comments, please email me directly... but remember, I won't be
home until Sunday.

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


------=_NextPart_000_0090_01C2C8B5.B9E19640
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<BODY bgColor=3D#ffffff>
<DIV>Sorry... that is Jennie has NOT re-subbed to h-costume since the =
baby was=20
born and her move.&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></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=3Dpenny@costumegallery.com =
href=3D"mailto:penny@costumegallery.com">Penny=20
  Ladnier</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>Cc:</B> <A =
title=3Djenniec@sensibility.com=20
  href=3D"mailto:jenniec@sensibility.com">Jennie</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, January 30, =
2003 11:12=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: [h-cost] Titanic=20
  dress...</DIV>
  <DIV><BR></DIV>
  <DIV>Jennie Chancey and I have heavily researched Rose's costumes from =

  Titanic.&nbsp; Jennie is more knowledgeable than I.&nbsp; She has =
re-subbed to=20
  h-costume since the baby was born and her move.&nbsp; So I will tell =
you what=20
  she has passed on to me.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Jennie says there are four Jump dresses:</DIV>
  <DIV>1. the original worn in the film owned by a couple in New =
Jersey</DIV>
  <DIV>2. the antique dress sold to the film by Suzi's Antiques</DIV>
  <DIV>3. a prototype for the European Titanic Costume Tour (it was not =
in the=20
  U.S. tour)</DIV>
  <DIV>4. one in the Fox Vault</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>The original owners of the actual jump dress and the sinking=20
  coat&nbsp;that were used in the film&nbsp;are owned by a couple in New =

  Jersey.&nbsp; Jennie and I have become really good friends with them =
and have=20
  met on several occasions.&nbsp; The couple were my guests at the Red =
Cross=20
  Ball&nbsp;last August.&nbsp; Jennie is working on writing a book about =
their=20
  costumes.&nbsp; The couple&nbsp;have heavy documentation that both =
costumes=20
  were the ones&nbsp;IN the film including a letter from Deborah Scott, =
the=20
  film's costume designer.&nbsp; They purchased the costumes directly =
from J.=20
  Peterman, prior to the showing of the sell on the Today =
Show.&nbsp;&nbsp;I=20
  have seen the video from the show and J. Peterman states that he had =
sold the=20
  original dress before the airing of the show.&nbsp; Jennie and I have =
been=20
  advising the couple&nbsp;about photography, storage and security for =
the=20
  costumes.&nbsp; They also own a J. Peterman's reproduction of the =
sinking coat=20
  to fit the&nbsp;wife&nbsp;of the couple.&nbsp; I have inspected it and =
had the=20
  wonderful opportunity to try it on.&nbsp; The couple stated that the=20
  reproduction sinking coat is not as detailed the original.&nbsp; I =
have photos=20
  of the reproduction's details in&nbsp;my online class that I teach =
about=20
  Titanic's costumes.&nbsp;&nbsp;&nbsp;Jennie and I have also seen =
detailed=20
  professional photographs of both costumes.&nbsp; I advised the owners =
how to=20
  dress the costumes for photographing and I will be the dresser for the =

  costumes&nbsp;if they do go on exhibit.&nbsp; Both costumes have very =
stunning=20
  detail work on them.&nbsp; The original jump dress has a tear in a =
specific=20
  place that Deborah Scott documented in the letter to the =
couple&nbsp;as the=20
  original in the film.&nbsp; I have seen in person and read the entire=20
  letter.&nbsp; Kate tore&nbsp;dress in the Jump scene in a specific=20
  location.&nbsp; I have seen the photographs and&nbsp;MS. Scott's =
description=20
  matches perfectly.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>The original owners have been aware of all the goings on to sell =
the=20
  other dress that has been showing up for sell.&nbsp; The original =
owners=20
  have&nbsp;NO intentions of selling their costumes. =
&nbsp;They&nbsp;have spoke=20
  with several *people* about the authicently of this dress that is =
floating=20
  around.&nbsp; Jennie has been writing me about the eBay =
dress.&nbsp;The dress=20
  from&nbsp;the other auction&nbsp;was returned.&nbsp;&nbsp; The details =
on the=20
  ebay or&nbsp;other auction&nbsp;dress is no where close to the =
original.&nbsp;=20
  Jennie and the couple are very upset that this *dress* has popped up=20
  again.&nbsp; The person who purchased the dress from Odessy Auctions =
last=20
  year, contacted Jennie.&nbsp; He said that he returned the dress after =
he=20
  discovered that it still had a J. Peterman's reproduction&nbsp;garment =

  tag.&nbsp;This purchaser&nbsp;also contacted the owner's of the =
original=20
  film&nbsp;gown.&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>The harness dress was the one worn by Kate throughout the =
scenes.&nbsp;=20
  It was originally worn made for&nbsp;her double but Kate decided to do =
her own=20
  stunts.&nbsp; The New Jersey couple's dress wardrobe&nbsp;tag =
states&nbsp;it=20
  is the harness dress and that it was worn&nbsp;by Kate.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Jennie said the European Tour prototype&nbsp;dress is lacking a =
lot of=20
  details from the film costume.&nbsp; She has seen the photos and =
talked with a=20
  person who inspected it at the exhibit.&nbsp; The medallions on the =
bottom are=20
  shorted in number (only two medallions) and they we not made in the =
same=20
  fashion as the films.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Jennie also said the dress in the Fox Vault is missing the =
overlay and=20
  only has the underskirt.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Just for a side note... the&nbsp;vintage dress that the Jump =
Dress was=20
  made from was sold to the film by Suzi's Antiques from Farmville, =
VA.&nbsp;=20
  Remember Suzi and her mother were murdered a couple of years =
ago.&nbsp; Suzi=20
  stated on our local news that she had sold the film&nbsp;the antique=20
  dress.&nbsp; I have a transcript of the interview.&nbsp; In a memorial =
article=20
  in People magazine, they stated that Suzi sold the Jump Dress to the=20
  film.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>An insider in the vintage industry told me that a lot of the =
antique=20
  clothing sold to the film was sold back to the dealers.&nbsp;&nbsp;In =
return=20
  the dealers had to promise that they would not sell the items as that =
they=20
  were not in the film.&nbsp; Now if this is true, I bet my bottom=20
  dollar,&nbsp;that Suzi's children would not sell that dress since Suzi =

  received so much publicity for it.&nbsp;&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Swim Dress...</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Jennie has documented that there were several copies of the swim=20
  dress.&nbsp; I believe she said there were up to 27 copies of the =
dress made=20
  because of the wear and tear of the dress in the water.&nbsp; This =
information=20
  was on the exhibit card&nbsp;for the swim dress in 1998 U.S. =
tour.&nbsp;This=20
  is one of Jennie's favorite dresses from the film.&nbsp; I was with =
her=20
  when&nbsp;she inspected the Swim Dress.&nbsp; I received permission =
from=20
  Paramont to photograph the exhibit's collection for my website.&nbsp; =
Jennie=20
  is really good at looking at costumes and knowing exactly how they are =
made=20
  and textiles used.&nbsp; She spent about 30 minutes inspecting the =
Swim=20
  Dress.&nbsp; </DIV>
  <DIV>&nbsp;</DIV>
  <DIV>If you want more information about&nbsp;Titanic's costumes you =
can go to=20
  Jennie's website:</DIV>
  <DIV><A=20
  =
href=3D"http://www.sensibility.com/titanic/index.htm">http://www.sensibil=
ity.com/titanic/index.htm</A></DIV>
  <DIV>OR my website:</DIV>
  <DIV><A=20
  =
href=3D"http://www.costumegallery.com/Titanic/Costumes.html">http://www.c=
ostumegallery.com/Titanic/Costumes.html</A>&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>If you are interested in my 1912 film costumes, "Costume Analysis =
of Four=20
  Films Set in 1912-1914"&nbsp;class go to:</DIV>
  <DIV><A=20
  =
href=3D"http://www.costumeclassroom.com">www.costumeclassroom.com</A>&nbs=
p;=20
  &nbsp;class begins March 9.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>FYI: Jennie and I composed this email together.&nbsp; </DIV>
  <DIV>&nbsp;</DIV>
  <DIV>On last thing... I am leaving out of town shortly to do some =
research at=20
  the Library of Congress.&nbsp; I will not be back until Sunday.&nbsp; =
If you=20
  have questions or comments, please email me directly... but remember, =
I won't=20
  be home until Sunday.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Penny Ladnier<BR>Owner, The Costume Gallery &amp; Costume =
Classroom<BR><A=20
  =
href=3D"http://www.costumegallery.com">http://www.costumegallery.com</A> =
<BR><A=20
  =
href=3D"http://www.costumeclassroom.com">http://www.costumeclassroom.com<=
/A><BR><A=20
  =
href=3D"http://www.onlinecostumeball.com">http://www.onlinecostumeball.co=
m</A></DIV>
  <BLOCKQUOTE dir=3Dltr=20
  style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: =
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From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Subject: RE: [h-cost] I'm looking for an image
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Date: Thu, 30 Jan 2003 22:34:20 -0600
Status: RO

Is this it??

http://www.marquise.de/en/1500/pics/1555_1.shtml

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of ailith
Sent: Thursday, January 30, 2003 10:11 PM
To: h-costume@indra.com
Subject: [h-cost] I'm looking for an image


Does anyone have an image of Bronzino's portrait of Laura Battiferri that
they're willing to share? I can't find my Italian-language book about
Bronzino and it's the only one with her in it.

Thanks!
kate

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Subject: [h-cost] V is for Victory, er, or something
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Date: Thu, 30 Jan 2003 23:21:43 -0500
Status: RO

Hi!

Just a side thought: would be funny to design special gloves or 
armwear to allow one to give the V-sign (either the nice or not-nice 
version) more effectively.

Perhaps a very bright color on one side, to make it perfectly clear 
which way the palm is facing from a far-off distance.. :) (File this 
under 'visual problems that did not need to be solved' :)

Now off to check out Leif og Bjarne Drew's clay dolls, hopping back online...

Thanks for the lively discussion and er, education!

Best,
Michiko
-- 




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BimBionic Design Lab | New York
http://www.michiko.com
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Subject: [h-cost] Anyone need anything from Vienna? & Question about ballgown
 colors/satins?
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Date: Thu, 30 Jan 2003 23:41:14 -0500
Status: RO

Hi again!

By the way, thanks for all the help and encouragement on Vienna Opera 
Ball-related matters so far...

While I'm at it, is there anything anyone needs/wants brought back 
from there? I'm only there for 2-3 days, including prep for the Ball, 
and don't know what kind of transportation I'll have, but if there's 
something that can be picked up for you, I'll be back in NYC after 
that and can well, um, mail it to you from the States (perhaps this 
isn't that helpful an idea, but just thought I'd offer :)

Just a quick asking of your opinion...

I'm assuming the dresses of the Vienna Ball days (1800s -- er, not 
sure what period of the 1800s would be most appropriate) were white? 
I was going to go with that but realize I look pasty enough as it is, 
given this winter :)

In your opinion, are bright colors too flashy for the period (were 
they still going against the earlier excesses in dress of the French 
monarchy, or were they not as affected in Austria?) or were deep 
reds, corals, lilacs, rust oranges (just because these would go with 
my winter complexion) likely and/or acceptable, if you happen to know?

I'm not sure how fancy to go with this -- assuming I don't want 
bridal satin all over (don't want to look like a wedding cake -- or 
do I?) but are plain textures (cottons, backsides of satin, etc.) in 
vivid colors acceptable?

Also, I've got to figure out (soon!) how danceable this dress needs 
to be...we're supposed to do the fast Vienna waltz, so I'm thinking 
I'll be sweating like a hog (sorry to be blunt) and probably want to 
keep a certain athletic countenance in mind -- big armholes, etc. For 
instance, I tried out stretch velvet tonight in a gym class 
(unrelated to the dress) and found it to be a challenge. Any of you 
who ballroom dance and wouldn't mind commenting on any design details 
I might need to adjust for this...that would be great - thanks!

I realize back then they danced in corsets and probably fainted 
regularly (hearts being compressed into ribs and such :) and sure, I 
can be historically accurate by doing the same...but if at all 
possible I'd prefer to be somewhat modern in at least one sense :)

Thank you for any thoughts on this!

Best,
Michiko

P.S. Silly me, I tried attaching a sketch of my dress design earlier 
and didn't realize it would get bounced back, sorry about that! So in 
case anyone's interested in commenting (I know it ain't perfect -- it 
has some modern twists to it, but I'm hoping to capture the essence 
of the dress from that era if I still can -- and I'd love any 
feedback before I start buying the fabrics tomorrow)

I've got the preliminary gown design here now:

http://www.michiko.com/download/Michiko-ViennaDress1.JPG

I know you all have better things to do....so if you have time to get 
around to it...thanks! :) If not, no worries! :)
-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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Date: Thu, 30 Jan 2003 23:47:41 -0500
Status: RO

The clay doll looks great! I love her personality! Would love to see 
it as you bring her further along (hope you don't mind my living 
vicariously through you :)

Best,
Michiko
-- 




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http://www.michiko.com
----------------------------------------
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Subject: Re: [h-cost] Book and bookseller of interest
References: <3E399B8B.4080202@lavoltapress.com> <007a01c2c8de$fe706970$befc8218@hopperflop2>
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Date: Thu, 30 Jan 2003 21:06:04 -0800
Status: RO

Circa 1640 to 1960.  However, there is not much emphasis on the 20th 
  century after the mid 1910s.

Fran

Kendra Van Cleave wrote:
> Thanks for posting this, Fran.  What time periods does the book cover?  I
> couldn't tell from the book description.
> 
> - Kendra
> 

-- 
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From h-costume-admin@indra.com  Fri Jan 31 00:32:36 2003
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Subject: Re: [h-cost] I'm looking for an image
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Date: Fri, 31 Jan 2003 00:32:59 -0500
Status: RO

Yes, that's her. I'm looking for an image that I can archive for later use
on my website. I was hoping for one that I can actually use...

Maybe I'll just wait til I can go to the Medici exhibit when it gets to
Detroit. Hopefully there will be postcards of her.

kate

----- Original Message -----
From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Sent: Thursday, January 30, 2003 11:34 PM
Subject: RE: [h-cost] I'm looking for an image


> Is this it??
>
> http://www.marquise.de/en/1500/pics/1555_1.shtml
>
> Talia
>
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of ailith
> Sent: Thursday, January 30, 2003 10:11 PM
> To: h-costume@indra.com
> Subject: [h-cost] I'm looking for an image
>
>
> Does anyone have an image of Bronzino's portrait of Laura Battiferri that
> they're willing to share? I can't find my Italian-language book about
> Bronzino and it's the only one with her in it.
>
> Thanks!
> kate
>
> _______________________________________________
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Subject: Re: [h-cost] wig examination offer (heh),
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Date: Fri, 31 Jan 2003 00:52:56 -0500
Status: RO

It's not really a showroom. I haven't been there in a few years, but...

It's upstairs in an office building in the garment district. You go in, 
and stop at a desk in this big warehouse sort of room. If you know what 
you want, fine, they'll get it for you. If not, you can look at the 
catalog. If you have to guess, they'll get something, and put it back 
and get something else... or bring out a couple of choices that seem 
likely. Very nice about it.

This is pretty typical for businesses in the area. Most of their 
business isn't walk ins, but people like Pierre and Sandy, or the rental 
house I first went there for. These are Costume Wigs, not street wear 
wigs, so most customers are somehow in the business, or at least very 
familiar with it, and pretty much know what they want.

I don't have the hours handy - call them up. I think it is pretty much 
normal office hours, 9-5 or 10-6, something like that.  Definitely not 
Saturday, unless much has changed since I was last there!

Hm. It's not too far from my normal rambles... probably time for me to 
look in again, just to pick up a new catalog...

Anne

Brenda Bell wrote:
> 
> Did you notice whether or not they have a showroom? I know a lot of 
> mail-order places do *not* have either a showroom or a storefront; some 
> don't even have a place where they can show merchandise to walk-ins from 
> the trade...
> 
>>  
>> 
> 
> Please let me know if there is, indeed, a showroom -- and if so, what 
> their hours are...
> 
>> Lacey's Costume Wig
>> 505 8TH AVE. 11TH FL NEW YORK NY 10018
> 
> 
> 
> Brenda
> webwarren@earthlink.net
> 
> 
>

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Date: Fri, 31 Jan 2003 00:53:04 -0500
Status: RO


----- Original Message -----
From: "Baralier" <baralier@optusnet.com.au>


> > N Kipar <nicolas_fouquet@yahoo.com> wrote:
> > http://www.learntoquestion.com/data/churchill_victory.jpg
> >
> > Now imagine the hand turned the other way round with the back of the
hand
> > showing to the other person, and add waving the fingers towards you,
> > similar to beckoning someone closer, but with those two V-opened
fingers,
> > and voila! You are being as rude as sticking out the middle finger
alone. :-)
> > That only works in Britain though!
>
> Trust me, there's enough British culture in Australia and New Zealand that
doing
> that to the wrong person is liable to result in having your head kicked
in!
>
> Don't know about Canada but I assume they're aware of it there.


I'm not. But then again I'm french-canadian. Sometimes that makes a BIG
difference :-)
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Subject: Re: [h-cost] I'm looking for an image
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Date: Fri, 31 Jan 2003 01:00:15 -0500
Status: RO

Oh oh, do you remember if that book had a portrait of Laudomia de Medici?
(If that book has other rare pics, why not that one ehehe :-)

----- Original Message -----
From: "ailith" <ailith@neo.rr.com>
To: <h-costume@indra.com>
Sent: Thursday, January 30, 2003 11:11 PM
Subject: [h-cost] I'm looking for an image


> Does anyone have an image of Bronzino's portrait of Laura Battiferri that
> they're willing to share? I can't find my Italian-language book about
> Bronzino and it's the only one with her in it.
>
> Thanks!
> kate
>
> _______________________________________________
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Subject: RE: [h-cost] I'm looking for an image
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Date: Fri, 31 Jan 2003 00:05:50 -0600
Status: RO

What about this one?

http://www.gblgallery.com/images/exhibitions/00_gilje_project/c_Gilje_1999_l
aura_battiferi_painting.jpg

Talia

-----Original Message-----
From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
Behalf Of ailith
Sent: Thursday, January 30, 2003 11:33 PM
To: h-costume@indra.com
Subject: Re: [h-cost] I'm looking for an image


Yes, that's her. I'm looking for an image that I can archive for later use
on my website. I was hoping for one that I can actually use...

Maybe I'll just wait til I can go to the Medici exhibit when it gets to
Detroit. Hopefully there will be postcards of her.

kate

----- Original Message -----
From: "Talia" <khanson@kc.rr.com>
To: <h-costume@indra.com>
Sent: Thursday, January 30, 2003 11:34 PM
Subject: RE: [h-cost] I'm looking for an image


> Is this it??
>
> http://www.marquise.de/en/1500/pics/1555_1.shtml
>
> Talia
>
> -----Original Message-----
> From: h-costume-admin@indra.com [mailto:h-costume-admin@indra.com]On
> Behalf Of ailith
> Sent: Thursday, January 30, 2003 10:11 PM
> To: h-costume@indra.com
> Subject: [h-cost] I'm looking for an image
>
>
> Does anyone have an image of Bronzino's portrait of Laura Battiferri that
> they're willing to share? I can't find my Italian-language book about
> Bronzino and it's the only one with her in it.
>
> Thanks!
> kate
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Fri, 31 Jan 2003 01:09:18 -0500
Status: RO

unfortunately, it didn't. There wasn't even a photo of Laudomia in the Pitti
catalog..sigh.

kate
----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, January 31, 2003 1:00 AM
Subject: Re: [h-cost] I'm looking for an image


> Oh oh, do you remember if that book had a portrait of Laudomia de Medici?
> (If that book has other rare pics, why not that one ehehe :-)
>
> ----- Original Message -----
> From: "ailith" <ailith@neo.rr.com>
> To: <h-costume@indra.com>
> Sent: Thursday, January 30, 2003 11:11 PM
> Subject: [h-cost] I'm looking for an image
>
>
> > Does anyone have an image of Bronzino's portrait of Laura Battiferri
that
> > they're willing to share? I can't find my Italian-language book about
> > Bronzino and it's the only one with her in it.
> >
> > Thanks!
> > kate
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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Subject: Re: [h-cost] New Hunnisett book
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Date: Fri, 31 Jan 2003 01:16:01 -0600
Status: RO

> > Look what I found while I was searching for another book.
> >
> > http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?userid=2XRR81O0
> >E Q&isbn=0887346707&itm=1

> Sorry, the URL above returned a message that said "Sorry, we have no such
> books" when I tried it (and I even tried typing it in).
> 
> What was the title?

Sometimes you have to be a bit of a detective with URLs.  :)  The ISBN
is in the URL and you can search B&N using that number (0887346707).

--Charlene

-- 
Thou shalt not bear false witness.  But there are still plenty of true
things that you can say to get your brother in trouble.  -- Raymond
Lesser, 20 Things I Learned from God (or voices inside my head, I'm not
sure which, yet)
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Subject: Re: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Fri, 31 Jan 2003 02:29:30 EST
Status: RO

New lurker un-lurking for a moment.  :)

> > Trust me, there's enough British culture in Australia and New Zealand that
>  doing
>  > that to the wrong person is liable to result in having your head kicked
>  in!
>  >
>  > Don't know about Canada but I assume they're aware of it there.
>  >
>  > Paul
>  > --
>  
>  From my experience, only those of us who watch British TV. ^_^

Actually, the character Spike in Buffy the Vampire Slayer used to give that 
very two-fingered salute every time the opening credits ran for a couple of 
seasons. I always wondered how much ruder that seemed when the show ran in a 
country that used the gesture... ;)

Rose  
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Date: Fri, 31 Jan 2003 02:50:00 -0500
Status: RO

I know... All I was able to get from that catalog is the inventory # and
such things. It's a start, though. I always told myself that if I found an
email address I'd try to write the ppl at the museum, you never know... But
I never found an email for that museum. I hear there's one reproduction in a
book about portraits of the medici family, but I don't know which book, and
I haven't gotten around to searching for it myself yet.

----- Original Message -----
From: "ailith" <ailith@neo.rr.com>


> unfortunately, it didn't. There wasn't even a photo of Laudomia in the
Pitti
> catalog..sigh.
>
> kate
> ----- Original Message -----
> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>
> > Oh oh, do you remember if that book had a portrait of Laudomia de
Medici?
> > (If that book has other rare pics, why not that one ehehe :-)
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Michiko's web site, was Re: [h-cost] Anyone need anything from Vienna?
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Date: Fri, 31 Jan 2003 08:17:57 +0000 (GMT)
Status: RO

 --- michiko <michiko@michiko.com> wrote: > Hi again!

First of all, what a lovely design. It shows that you're a graphic
designer/artist. :-) Mine are.... well, does the word abysmal explain what my
costume drawings look like? *G*

> I've got the preliminary gown design here now:
> 
> http://www.michiko.com/download/Michiko-ViennaDress1.JPG

> ----------------------------------------
> Michiko Stehrenberger
> Illustration & Character Design
> BimBionic Design Lab | New York
> http://www.michiko.com
>
May I say 'everyone go to Michiko's web site and take a look at those great
BimBionics!' I had a blast of a time, fantastic work. 

Nicole

=====
Nicole Kipar M.A.
URL: http://www.kipar.org/
Email: nicole@kipar.org

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From: Lee Thompson-Herbert <lee@retro.com>
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To: h-costume@indra.com
Subject: Re: [h-cost] V is for Victory, er, or something
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Date: Fri, 31 Jan 2003 00:46:37 -0800 (PST)
Status: RO


michiko <michiko@michiko.com> wrote:
> 
> Just a side thought: would be funny to design special gloves or 
> armwear to allow one to give the V-sign (either the nice or not-nice 
> version) more effectively.
> 
> Perhaps a very bright color on one side, to make it perfectly clear 
> which way the palm is facing from a far-off distance.. :) (File this 
> under 'visual problems that did not need to be solved' :)

They already exist.  Check out the second item on this page, "Flash
Gloves."
http://www.bandshoppe.com/html/guardgloves.html

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: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] paper clay doll
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Date: Fri, 31 Jan 2003 08:43:43 +0000 (GMT)
Status: RO

 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Hi.
> As promised i have posted some pics of my first paper clay doll. 
> Dont laugh :-)
> Hopefully the next ones gets better and better. But it is fun.
> She is not dressed yeat
> 
> http://www.my-drewscostumes.dk/my_first_paper_clay_doll.htm

Oh I love the face! I admire anyone who is able to craft anything in 3D. I am
unable to do this, I can't think three-dimensionally. I think the doll is very
lovely and it doesn't look like a first try at all.

Nicole

=====
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Email: nicole@kipar.org

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From: "Baralier" <baralier@optusnet.com.au>
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Subject: RE: [h-cost] Obscene Period Gestures-(OT?)
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Date: Fri, 31 Jan 2003 20:14:30 +1100
Status: RO

From: <CharonLight@cs.com> wrote...
> > > Trust me, there's enough British culture in Australia and New Zealand
that
> > > doing that to the wrong person is liable to result in having your head
kicked
> > > in!
> >  >
> >  > Don't know about Canada but I assume they're aware of it there.
> >
> >  From my experience, only those of us who watch British TV. ^_^
>
> Actually, the character Spike in Buffy the Vampire Slayer used to give
that
> very two-fingered salute every time the opening credits ran for a couple
of
> seasons. I always wondered how much ruder that seemed when the show ran in
a
> country that used the gesture... ;)

Well Spike was *supposed* to exude the British Punk attitude (sort of a
cross between Billy Idol and John Lydon).

If he wasn't offensive he wouldn't be a proper Punk would he :-)

Paul
--
It's easier to ask forgiveness than to get permission. - W. Slovotsky
http://members.optushome.com.au/velvetspyder
Costumier & Reprobate

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Subject: Re: [h-cost] paper clay doll
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Date: Fri, 31 Jan 2003 22:42:18 +1300
Status: RO

Bjarne, I noticed on the page you mentioned you couldn't get red hair. I
used natural mohair then stripped and dyed it for my dolls:
http://recital.tripod.com/sketch all made pre 1998 btw.

It's a really nice process actually, I find it more soothing than any other
aspect of doll making;) Or costuming for that matter;)

To strip it you take a small handfull of the hair, and comb it to remove
tangles and it helps clean it a bit anyway. Then tie one end to secure all
the strands and swish it about in a bowl with luke warm water, dishwashing
liquid and methylated spirits. Yep, much liek the mixture for cleaning
windows;)
Rince it and then youa re ready to dye it:)

For the mahogany coloured hair on my dolls I used two Dylon colours: bordeau
and coffee, for the intesnsely yellow I used turmeric.

Mohair is wonderful for dolls as the hair is so fine it looks well in
proportion to the doll:)

Looking forward to seeing the doll dressed:)

michaela de bruce
http://recital.tripod.com/costume



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Date: Fri, 31 Jan 2003 02:51:27 -0800
Status: RO

If I need real-looking hair for a doll, I get a wig from a second-hand 
store, and disassemble it for parts.  Then I can make a wig any size I 
need, o maybe three or four, from the parts.  Human hair wigs are much 
cheaper second-hand, and can be sanitized if you don't think they are clean 
enough.

>Bjarne, I noticed on the page you mentioned you couldn't get red hair. I
>used natural mohair then stripped and dyed it for my dolls:
>http://recital.tripod.com/sketch all made pre 1998 btw.
>
>It's a really nice process actually, I find it more soothing than any other
>aspect of doll making;) Or costuming for that matter;)
>
>To strip it you take a small handfull of the hair, and comb it to remove
>tangles and it helps clean it a bit anyway. Then tie one end to secure all
>the strands and swish it about in a bowl with luke warm water, dishwashing
>liquid and methylated spirits. Yep, much liek the mixture for cleaning
>windows;)
>Rince it and then youa re ready to dye it:)
>
>For the mahogany coloured hair on my dolls I used two Dylon colours: bordeau
>and coffee, for the intesnsely yellow I used turmeric.
>
>Mohair is wonderful for dolls as the hair is so fine it looks well in
>proportion to the doll:)
>
>Looking forward to seeing the doll dressed:)
>
>michaela de bruce
>http://recital.tripod.com/costume
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Anyone need anything from Vienna? & Question about ballgown colors/satins?
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Date: Fri, 31 Jan 2003 07:30:24 -0500
Status: RO

On Thursday 30 January 2003 11:41 pm, michiko wrote:
[text cut here]

> Just a quick asking of your opinion...

I'm not a Victorian-era specialist, but here comes my opinion based upon my 
general costume-related reading.

> I'm assuming the dresses of the Vienna Ball days (1800s -- er, not
> sure what period of the 1800s would be most appropriate) were white?
> I was going to go with that but realize I look pasty enough as it is,
> given this winter :)

It would depend on what decade/s of the 1800s you are shooting for. You need 
to pin that down before you can made a decision.

Early in the century (say, 1800-1820 or so), white was an extremely popular 
color even for evening wear.  

Pastels tended to be favored for evening through the 1840s, I think.  Mostly 
yellows, blues--but pink or lilac should be fine also.


> In your opinion, are bright colors too flashy for the period (were
> they still going against the earlier excesses in dress of the French
> monarchy, or were they not as affected in Austria?) or were deep
> reds, corals, lilacs, rust oranges (just because these would go with
> my winter complexion) likely and/or acceptable, if you happen to know?

That still depends what part of the 1800s you're shooting for.  Aniline dyes 
were invented in the 1850s and swiftly became popular.  By the mid 1860s, 
hardly any bright color (or combinations of same) were deemed too garish for 
fashion.  Your deep reds, corals and lilacs should be fine for mid-century.  
I don't know about rust orange for evening, though--I think that was deemed 
primarily a day or afternoon color.  

I'm less sure about the 1870s and 1880s, though I think deep red was still 
just fine for evening gowns then.  Light colors (light yellows, peaches, 
pinks) came back into vogue in the 1890s, if memory serves me.


> I'm not sure how fancy to go with this -- assuming I don't want
> bridal satin all over (don't want to look like a wedding cake -- or
> do I?) but are plain textures (cottons, backsides of satin, etc.) in
> vivid colors acceptable?

You could, certainly, go for the wedding cake look and be in 
period--particularly for gowns (evening or day, for that matter) from the 
1850s through most of the rest of the century.  (The 1890s gowns, though 
cursed with ridiculously wide sleeve tops, was saner with regard to quantity  
of decoration).  Lace, ribbons (either bows or ruched and sewed on in rows), 
tassels, beading, were commonplace.  Lace basically came in only black, white 
and off-white, but contrasting fabrics and ribbons in any and every color 
might be used.  

You could go for less shiny fabrics and be acceptable (though that I'd really 
have to check).  My server is down as I write this (I'm sending this after 
the fact), or I'd look for a URL or three for you.


> Also, I've got to figure out (soon!) how danceable this dress needs
> to be...we're supposed to do the fast Vienna waltz, so I'm thinking
> I'll be sweating like a hog (sorry to be blunt) and probably want to
> keep a certain athletic countenance in mind -- big armholes, etc. For
> instance, I tried out stretch velvet tonight in a gym class
> (unrelated to the dress) and found it to be a challenge. Any of you
> who ballroom dance and wouldn't mind commenting on any design details
> I might need to adjust for this...that would be great - thanks!

If sweat is your concern, stick to natural fabrics.  Cotton for the corset and 
other underwear.  As for the gown, use silk if you can afford it, cotton if 
you can't.  Stretch velvet probably didn't work for you because it's all or 
mostly man-made fiber and doesn't breathe.

One thing you *could* do if you're making a dress in an 1850's or 1860's style 
is use natural fiber for the bodice, but a harmonizing (or even contrasting) 
fabric that looks like silk but is poly-whatever.  In the dresses of that 
period, the crinoline keeps the skirts well away from your legs, so lack of 
breathability is less of an issue.

Most evening gowns throughout the century are sleeveless or have tiny sleeves, 
though low armholes aren't particularly period.  

[text cut here]

> I've got the preliminary gown design here now:
>
> http://www.michiko.com/download/Michiko-ViennaDress1.JPG

I'd love to look--but as I'm typing this I have no Internet, and by the time I 
expect to send this, I'll barely have time to hit "send".  But thanks...

And good luck.
-- 
Cathy Raymond <cathy@thyrsus.com>

"If you can't convince them, confuse them."  Harry S. Truman

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From: Katy Bishop <vintage@shore.net>
To: Catelli <catelli@rcn.com>
cc: h-costume@indra.com
Subject: Re: [h-cost] Re: where to go in Vienna
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Date: Fri, 31 Jan 2003 08:50:08 -0500 (EST)
Status: RO


Thanks for the advice, gelatin, never would have thought of that for
hair.  I just hope it doesn't rain the nights of the balls!
My hair is about 3 1/2 feet long so there's a lot to play with.  I need
to distribute the weight of the hair and keep it well balanced.

Katy

On Tue, 28 Jan 2003, Catelli wrote:

>> From: Katy Bishop <vintage@shore.net>
>> To: h-costume@indra.com
>> Subject: [h-cost] where to go in Vienna
>> Reply-To: h-costume@mail.indra.com
>>
>> Next week I am going to be in Vienna, Austria.  I am going to a 19th
>> Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
>> the other Strauss (2nd half 19th c).  Still haven't started my
>> Biedermeier dress :~P , I do hope I can get it done in time.  I have a
>> lovely blue and gold shot taffeta to work with.  Now if only I could
>> figure out how to gel my hair into huge bow loops.
>
>This is for your 1830's outfit, right?  Something like an Apollo knot?
>Sometimes braids were dressed like the smooth loops often shown.
>Pull your back hair to your crown.
>Braid it in several braids, possibly along with some soft wire (bend the end in so your scalp
>is safe from it).  I think armature wire might work, but try stopping by a beauty supply store,
>because if they have something to hold the hair in place, that would be best for the effect and
>for the hair.
>Loop the braids in an 1830's madness sort of way.
>
>The front hair can also be braided or frizzed all to heck & brought up to the high bun/looped
>tentacles thing.
>
>Add wire-edged ribbons in excessive profusion to the upper loops
>Add artificial flowers &/or decorative insects, animals, birds.
>
>
>> I am almost finished
>> with the 2 1860 gowns I am making for the Austrian dance teacher and her
>> assistant.
>
>I hope to see pictures of the gowns at some point.
>You do such lovely work.
>
>> I was wondering if anyone has any suggestions of where to shop (cloth
>> trims antiques) or if there are any museums with costumes to recommend.
>>
>> Katy Bishop, Vintage Victorian
>
>I don't know from Vienna, but have one bite of pastry for me--you & Ben will be dancing enough
>to take the calories back off.
>
>Ann in CT
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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>

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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From h-costume-admin@indra.com  Fri Jan 31 08:57:36 2003
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To: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
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Subject: Re: [h-cost] where to go in Vienna
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Date: Fri, 31 Jan 2003 08:54:25 -0500 (EST)
Status: RO


Thanks, that was one stop I had planned on if time permits, I will have
to skip dance classes in order to do any sightseeing.  The dance
schedule is much too full.  I believe that museum also has a library at
least which is costume related, I found mention of it on a website.  I
never seem to be in European cities when there are exhibits of costumes,
I was in Florence when the Pallazzo Pitti was under renovations, I was
in Paris when the costume museum was closed.....  Sigh.  I did get to
catch an exhibit of paisley shawls in Brussels once

Katy

On Wed, 29 Jan 2003, Bella wrote:

> --- Katy Bishop <vintage@shore.net> wrote: >
><snipped>
>> I was wondering if anyone has any suggestions of
>> where to shop (cloth trims antiques) or if there are
>> any museums with costumes to recommend.
>
>
>
>Well, if it were me going to Vienna (you are so
>lucky!) I would make my first stop the
>Kunsthistorisches Museum. I don't think they have
>costumes, but they do have lots of art. Currently they
>have three exhibitions running, the most relevant of
>which is probably...
>
>"THESAURI POLONIAE - The Treasures of Poland
>This exhibition will be the first survey of Polish
>treasures dating from the Late Middle Ages to the
>period of the Enlightenment. Artworks on loan from,
>for example, the National Museums in Warsaw and
>Gdansk, and the Ecclesiastical Treasury, and the
>Historical Museum in Cracow will be on show."
>
>Of course there are many works of art from the 15th
>century onwards - much more than they show in their
>online collections:
>
><http://www.khm.at/homeE3.html>
>
>Personally, I would devour every Venetian portrait in
>the place - there are lots of Palma Vecchio paintings
>there. I would love to be in your shoes. :)
>
>
>Have fun, stay safe,
>
>Bella
>
>
>
>http://movies.yahoo.com.au - Yahoo! Movies
>- What's on at your local cinema?
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

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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From h-costume-admin@indra.com  Fri Jan 31 09:34:43 2003
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From: Katy Bishop <vintage@shore.net>
To: Bjarne og Leif Drews <drewscph@post12.tele.dk>
cc: h-costume@indra.com
Subject: Re: [h-cost] where to go in Vienna
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Date: Fri, 31 Jan 2003 09:04:52 -0500 (EST)
Status: RO


Hi, thanks, I hope we have time to get to Schonbrunn, I remember it from
when I was about 8 years old.  I love Empress Elizabeth and would like
to see her portrait again (my hair is 3 1/2 feet long and I would like
to recreate some of her portraits with her flowing long hair).

My mother is from Vienna, and my Father is from Budapest, so ever since
I started vintage dancing 12 years ago I have wanted to dance in Vienna.
It will be a maghical and exhausting week.

My 1830's gown is 1/2 done, with lots of handwork remaning.  I hate the
idea of stuffing the puffed sleeves in a suitcase.

Katy

On Wed, 29 Jan 2003, Bjarne og Leif Drews wrote:

>Dear Kathy.
>Oh you must go and se Castle Schönbrunn. I dont think they have any costumes
>to show, but my.......... there are a lot of beautifull portraits and
>interiors to see. It is the home of the Habsburg family. Marie Antoinette
>was born there.
>Wish i could go with you, Wienna is high on my list two.
>There is a charming old Coffe Shop. I think it is more than 200 years old.
>Dont miss to have your Tea or Coffe there.
>Wish you a wonderfull trip!!!
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>----- Original Message -----
>From: "Katy Bishop" <vintage@shore.net>
>To: <h-costume@indra.com>
>Sent: Wednesday, January 29, 2003 12:43 AM
>Subject: [h-cost] where to go in Vienna
>
>
>>
>> Next week I am going to be in Vienna, Austria.  I am going to a 19th
>> Century dance week, with 2 grand balls, one Biedermeier (1815-1848) and
>> the other Strauss (2nd half 19th c).  Still haven't started my
>> Biedermeier dress :~P , I do hope I can get it done in time.  I have a
>> lovely blue and gold shot taffeta to work with.  Now if only I could
>> figure out how to gel my hair into huge bow loops.  I am almost finished
>> with the 2 1860 gowns I am making for the Austrian dance teacher and her
>> assistant.
>>
>> I was wondering if anyone has any suggestions of where to shop (cloth
>> trims antiques) or if there are any museums with costumes to recommend.
>>
>> Katy Bishop, Vintage Victorian
>> vintage@shore.net                www.VintageVictorian.com
>>      Custom reproduction gowns of the Victorian Era.
>>       Publisher of the Vintage Dress Series books.
>>
>> _______________________________________________
>> 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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>

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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Thread-Topic: Expensive fabrics on the web?
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Date: Fri, 31 Jan 2003 07:25:46 -0800
Status: RO

Hi everyone - 

This question is barely on topic, but I hope that you'll indulge me.  Someone I know of had their home burned by an arsonist.  As if that weren't bad enough, the insurance company is giving them quite a bit of grief over the claim.  They don't believe that imported silk fabric could cost over $25/yard.  

I was wondering if those on the list could send me any links that they might have to internet sites which show fabrics in this price range and above.  I tend to shop on a budget and haven't kept the URL's for any sites in this range.

Thank you for any help you can give.

Colleen


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Subject: [h-cost] Death Masks-authenticity?
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Date: Fri, 31 Jan 2003 08:28:15 -0700
Status: RO



Sg
Do any of our members know whether the death masks of Mary Queen of
Scots
http://www.thornhillcollege.org.uk/DissolvingBoundaries/newpage2.htm

and others are real?  I saw one of Queen Elizabeth the other day on the
internet (of course I can't find it now) and was puzzling to myself that
both it and the above one make the subject look awfully young.

Are there others? Like those of Henry V111, his wives, and other
children?

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Date: Fri, 31 Jan 2003 09:43:07 -0600
Status: RO

Here are a few of my sources:


http://www.mperkins.com/index.htm

http://www.easternchristian.com/page191.html

http://www.farthingales.on.ca/linen.php
(this one has linen for $40 a yard!)

http://www.srfabrics.com/silks/othersilks.htm



Go get 'em!



Karen

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Subject: Re: [h-cost] Expensive fabrics on the web?
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Date: Fri, 31 Jan 2003 10:50:22 -0500 (EST)
Status: RO

Yeesh.  Insurance companies. Check out Bevilacqua for the truly
stratospheric prices
(http://www.luigi-bevilacqua.com/english/catalog.html), and for more
reasonable $30-$60/yard check out Designer Fabrics in Toronto (aka the
Orange Bag Store), at http://www.designerfabrics.to .  Even accounting for
the bargain canadian prices will get you, they're way above the $25/yd
mark.

If she can persuade the insurance company to do their job and
research the prices of the things they're insuring, she can point them to
G Street Fabrics, which carries a vast variety of silk fabrics at an
average retail price for them in America.

My sympathies--I can't even imagine how horrible losing all my fabrics and
sewing supplies would be.

Drea

On Fri, 31 Jan 2003, Colleen McDonald wrote:

> Hi everyone -
>
> This question is barely on topic, but I hope that you'll indulge me.
Someone I know of had their home burned by an arsonist.  As if that
weren't bad enough, the insurance company is giving them quite a bit of
grief over the claim.  They don't believe that imported silk fabric could
cost over $25/yard.
>
> I was wondering if those on the list could send me any links that they
might have to internet sites which show fabrics in this price range and
above.  I tend to shop on a budget and haven't kept the URL's for any
sites in this range.
>
> Thank you for any help you can give.
>
> Colleen
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Fri, 31 Jan 2003 09:01:04 -0700
Status: RO

It looks great Bjarne!  My only suggestion is that you try to make your
body a little more in the shape of the 'look' of the gown you will dress
her with and stuff it really well.  She needs fullness where there would
be muscles etc. or she will look flat.

The body should be very firm to the touch, otherwise, someday you will
come home and she will look like she wilted!  

Great first try-I didn't realize how many of us were interested in doll
making!
Can't wait to see her dressed.  Keep us posted!

Sg


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Date: Fri, 31 Jan 2003 08:08:20 -0800
Status: RO

>
>> I'm assuming the dresses of the Vienna Ball days (1800s -- er, not
>> sure what period of the 1800s would be most appropriate) were white?
>> I was going to go with that but realize I look pasty enough as it is,
>> given this winter :)

I may be off base here, but isn't the Vienna Ball a debutante ball?  If
that's the case, it would probably be more correct for non debutantes NOT
to wear white.

Margo
"One Tough Costumer"


See the newly updated Historic Costume Patterns website at
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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Date: Fri, 31 Jan 2003 08:08:01 -0800 (PST)
Status: RO

As another friend of said arson victim, may I add
emphasis to this request?  The insurance company in
question is behaving even more abominally than the one
I had to deal with on my (non-arson) house fire.

Angharat

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Date: Fri, 31 Jan 2003 11:08:28 -0500
Status: RO

These are all places that I've bookmarked mainly to dream over.  Your
question made a nice excuse to go back and visit them.

Janet

http://www.arabiannights.ca/silk-bulk.htm This place has brocade at $100 per
meter.

http://www.designerfabrics.to/fabrics.html They have some embroidered silk
at $62 per yard that I really lust for.

http://www.hansson-silks.co.uk/catalogue/  They have beautiful brocades at
29 GBP per meter.

http://www.silktrading.com/content/index.htm The decorating silk they carry
seems to start around $30 a yard and go up over $100.

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Date: Fri, 31 Jan 2003 10:07:53 -0600
Status: RO

In  shameless burst of self promotion:

Costume Con 21 will have both a doll costume display area and several
classes on aspects of doll creation and customization.

Just in case anyone needs more reaons to come to the con....hint*hint*


http://www.jennifarse.com/cc2003/


Karen

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Subject: Re: [h-cost] Death Masks-authenticity?
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Date: Fri, 31 Jan 2003 11:58:12 -0500
Status: RO

        The death mask of Mary Stuart is real (she is my main research
these days as I have been asked to play her at an event in March).  She
was only 44 when she was beheaded, so she wasn't very old (I am 68 and
much to old to play her).  When you lie down on your back, the wrinkles
on your face tend to smooth out and in death all muscles are relaxed.  

Lalah
Never give up, Never surrender
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Subject: Re: [h-cost] paper clay doll
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Date: Fri, 31 Jan 2003 12:00:48 -0500
Status: RO

        Bjarne, is there anything you can't do?  What a talented person
you are.  It is time for you to join the doll list now.

Lalah
Never give up, Never surrender
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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] paper clay doll
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Date: Fri, 31 Jan 2003 09:55:33 -0800
Status: RO


>It looks great Bjarne!  My only suggestion is that you try to make your
>body a little more in the shape of the 'look' of the gown you will dress
>her with and stuff it really well.  She needs fullness where there would
>be muscles etc. or she will look flat.

It looks to me like he has left room for her corset and the rest of her 
eventual underpinnings.  All that ought to stiffen her up quite a bit.

>The body should be very firm to the touch, otherwise, someday you will
>come home and she will look like she wilted!
>
>Great first try-I didn't realize how many of us were interested in doll
>making!
>Can't wait to see her dressed.  Keep us posted!
>
>Sg
>
>
>_______________________________________________
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>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume


Kayta

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Subject: Re: [h-cost] Expensive fabrics on the web?
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Date: Fri, 31 Jan 2003 13:02:17 -0500
Status: RO


----- Original Message -----
From: <seamstrix@juno.com>


> http://www.farthingales.on.ca/linen.php
> (this one has linen for $40 a yard!)

Well, that would be 40 canadian dollars for a meter... Usually Farthingales
sell in Canadian currency and measures... That means... around 26$ USD a
meter (yes, the exchange is that bad these days) or around  24$ USD a yard
:-)

That's almost what linen costs at my local fabric store (somewhere  between
20 and 30 $ CDN a meter. And it's not even 60 inches wide. Now you
understand why I buy online :-)
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Subject: Re: [h-cost] I'm looking for an image
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Date: Fri, 31 Jan 2003 01:14:40 -0500
Status: RO

Sent privately.

----- Original Message -----
From: "ailith" <ailith@neo.rr.com>
To: <h-costume@indra.com>
Sent: Friday, January 31, 2003 12:32 AM
Subject: Re: [h-cost] I'm looking for an image


> Yes, that's her. I'm looking for an image that I can archive for later use
> on my website. I was hoping for one that I can actually use...
>
> Maybe I'll just wait til I can go to the Medici exhibit when it gets to
> Detroit. Hopefully there will be postcards of her.
>
> kate
>
> ----- Original Message -----
> From: "Talia" <khanson@kc.rr.com>
> To: <h-costume@indra.com>
> Sent: Thursday, January 30, 2003 11:34 PM
> Subject: RE: [h-cost] I'm looking for an image
>
>
> > Is this it??
> >
> > http://www.marquise.de/en/1500/pics/1555_1.shtml
> >
> > Talia
> >
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Subject: [h-cost] Historical Patterns printed at home
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Date: Fri, 31 Jan 2003 07:24:17 -0800
Status: RO

This is a multi-part message in MIME format.

------=_NextPart_000_0034_01C2C8F9.C3B005A0
Content-Type: text/plain;
	charset="Windows-1252"
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I have been pondering the historical pattern options for awhile from a =
producer's perspective and am wishing to get some feedback from those =
who use commercial patterns when making up garments.

One of the major expenses in producing a pattern is getting them printed =
and one of the major delays in receiving a pattern is in posting them =
out.  Most people today have printers and many people today want custom =
fit patterns.  Software today will produce a custom fit pattern to a =
given set of measurements in a few minutes and print it out in tile form =
to be taped together, in the marketing info anyway :) this could be =
delivered via email or from an online download.

My question is, how many of you would be interested in obtaining a =
custom fit pattern electronically, with sewing directions, if you had to =
tape it together?  The cost would be less than a commercially printed =
pattern as the producer does not incur the printing cost or the shipping =
fees?  Of course the quality of the pattern matters, but I am just =
asking about the form of delivery at the moment.

Thank you in advance for your opinions on this.

Cheers,

Lisa Sinervo
Threadneedle St. Clothiers
www.ThreadneedleSt.com







------=_NextPart_000_0034_01C2C8F9.C3B005A0
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<DIV><FONT face=3DArial size=3D2>I have been pondering the historical =
pattern=20
options for awhile from a producer's perspective and am wishing to get =
some=20
feedback from those who use commercial patterns when making up=20
garments.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>One of the major expenses in producing =
a pattern is=20
getting them printed and one of the major delays in receiving a pattern =
is in=20
posting them out.&nbsp; Most people today have printers and many people =
today=20
want custom fit patterns.&nbsp; Software today will produce a custom fit =
pattern=20
to a given set of measurements in a few minutes and print it out in tile =
form to=20
be taped together, in the marketing info anyway :) this could be =
delivered via=20
email or from an online download.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>My question is, how many of you would =
be interested=20
in obtaining a custom fit pattern electronically, with sewing =
directions, if you=20
had to tape it together?&nbsp; The cost would be less than a =
commercially=20
printed pattern as the producer does not incur the printing cost or the =
shipping=20
fees?&nbsp; Of course the quality of the pattern matters, but I am just =
asking=20
about the form of delivery at the moment.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Thank you in advance for your opinions =
on=20
this.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Cheers,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Lisa Sinervo</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Threadneedle St. Clothiers</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.ThreadneedleSt.com">www.ThreadneedleSt.com</A></FONT><=
/DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.ThreadneedleSt.com"></A></FONT>&nbsp;</DIV></BODY></HT=
ML>

------=_NextPart_000_0034_01C2C8F9.C3B005A0--


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Subject: [h-cost] Would love to see Katy's gown so far :) & Thank you Cathy (1800s
 gown colors)
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Date: Fri, 31 Jan 2003 13:47:54 -0500
Status: RO

>My 1830's gown is 1/2 done, with lots of handwork remaning.  I hate the
>idea of stuffing the puffed sleeves in a suitcase.
>
>Katy

Hiya Katy!

If you haven't posted pics already (i.e. just in case I missed it) I 
would love love love to see your dress so far! I'm just starting mine 
(vacillating between the entire range of 1800s styles and would love 
to see what someone is doing :)

When do you return from Austria? Sounds like we might just be 
crossing paths! I'll be arriving around Feb 20th or 25th or so (still 
researching flight options). Cheering you on! Sounds very excting!

Best,
Michiko




Hi Cathy!

THANK YOU so much for the info so far on the color schemes of 
ballgowns in the 1800s...whites to pastels, to brighter aniline dyes 
after the 1850s...brilliant! This is EXACTLY what I was hoping for! 
And the cotton bodice/poly skirt combination is a great suggestion as 
well! Would love those links if it's still convenient for you, and 
just wanted to say thank you again, so much! :)

At the moment I'm still debating between that deep burgundy red (has 
the demure elegance of wearing a black dress without it actually 
being black) on a thinnish shirt-=like cotton (I'm assuming it will 
need a layer of interfacing as well as a muslin inner-lining?) ... 
and... the copper/coral/rust color (though now I know that was more 
likely a daytime color - thanks!) which is actually...gosh, I hope 
this is not totally gross...a poly liner fabric with a slight 
sheen...I'm tempted to try it because it seems like an unusual choice 
(and at $1 a yard it looks as fancy as the plain cotton) but I don't 
know if that's super cheesy of me? As long as it's interfaced and 
lined with a cotton (for danceability) could that still work, or am I 
heading straight for dance-disaster? Hee hee. (How some things 
suddenly start to really matter! ;) In terms of the color, it looks 
less severe and more playful than the matronly-serious 
burgundy..well, I am flim-flamming until it's actually time to buy 
the fabric (which I have to do today because they close on 
Saturdays). Feel free to cast your vote -- and sorry to be indecisive 
and a bit silly!

Thanks again for the feedback!

Best,
Michiko
-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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Subject: [h-cost] Online patterns for making opera-length gloves?
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Date: Fri, 31 Jan 2003 14:08:21 -0500
Status: RO

Hello again!

I have some black satin elbow-length gloves for this Vienna ballgown, 
but am wondering if anyone's ever sewn their own (I'd like to make 
some which match my dress -- burgundy or copper/coral -- whichever 
color it ends up being, am debating and anguishing over that today ;) 
and would mid-bicep be considered more 'opera-length'?

Just wondering whether you'd consider sewing gloves really hard, or 
no big deal (easier to just go buy them, or...?) and if you might 
know of a place I could get a pattern and instructions online that 
would be wonderful - thanks!

Best,
Michiko
-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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Subject: Re: [h-cost] New Hunnisett book
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Date: Fri, 31 Jan 2003 13:48:21 -0600
Status: RO

Hmmm, looks like the URL wrapped down to the second line. The title is
"Period Costume for Stage and Screen: Patterns for Dominos, Dolmans, Coats,
Pelisses, Spencers, Callashes, Hoods & Bonnets, vol. 5"

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

A room without books is like a body without a soul
---Cicero

lotsofteapots@charter.net
**********************
> >
> >
http://search.barnesandnoble.com/booksearch/isbnInquiry.asp?userid=2XRR81O0
> >E Q&isbn=0887346707&itm=1
> > **********************

> Sorry, the URL above returned a message that said "Sorry, we have no such
> books" when I tried it (and I even tried typing it in).
>
> What was the title?
>


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Date: Fri, 31 Jan 2003 21:50:44 +0100
Status: RO

Hi folks!
Thanks for you who had a look at my first doll.
I have realised, that i should not do this doll thing right now. I did not
have the peace and heart in it, because i was thinking about my embroidered
suit, wich i really have to finish now.
Therefore i have desided to put it a little to a side and come back to it
later when i have the time and heart to it.
I know i have found something wich is going to be my absolute wonderfull
hobby.
Thanks for your kind words!!!

Bjarne, who made 24 embroidered buttons yesterday.
Well not the embroidery, but the actually buttons.


Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/


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Date: Fri, 31 Jan 2003 12:50:48 -0800 (PST)
Status: RO

sometimes, reaching out to do something new is the best way to get
motivated on what you were working on before!

.heather.


> 
> Hi folks!
> Thanks for you who had a look at my first doll.
> I have realised, that i should not do this doll thing right now. I did not
> have the peace and heart in it, because i was thinking about my embroidered
> suit, wich i really have to finish now.
> Therefore i have desided to put it a little to a side and come back to it
> later when i have the time and heart to it.
> I know i have found something wich is going to be my absolute wonderfull
> hobby.
> Thanks for your kind words!!!
> 
> Bjarne, who made 24 embroidered buttons yesterday.
> Well not the embroidery, but the actually buttons.
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 

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From: "Saragrace Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] Historical Patterns printed at home
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Date: Fri, 31 Jan 2003 15:23:54 -0700
Status: RO

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Since our last exchange on this, I have thought of 'another' option.  If
the pattern can be 'transferred' to a readily exchangeable format, one
might be able to take it to a Kinko's (or whatever), or institutional
plotter (not that I am promoting white collar crime here!) and have it
printed on larger paper than most at home printers could print.  It
would be a little more expensive but I know I would gladly pay for that
rather than have to tape a bunch of 8.5 X 11 pieces of paper together.
 
Sg
 

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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
10.0pt;font-family:Arial;color:navy'>Since our last exchange on this, I =
have
thought of &#8216;another&#8217; option.<span =
style=3D'mso-spacerun:yes'>&nbsp;
</span>If the pattern can be &#8216;transferred&#8217; to a readily =
exchangeable
format, one might be able to take it to a Kinko&#8217;s (or whatever), =
or
institutional plotter (not that I am promoting white collar crime here!) =
and
have it printed on larger paper than most at home printers could =
print.<span
style=3D'mso-spacerun:yes'>&nbsp; </span>It would be a little more =
expensive but
I know I would gladly pay for that rather than have to tape a bunch of =
8.5 X 11
pieces of paper together.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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n></font></p>

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Historical Patterns printed at home
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Date: Fri, 31 Jan 2003 14:22:02 -0800
Status: RO

Software today will produce a custom fit pattern to a given set of 
measurements in a few minutes and print it out in tile form to be taped 
together, in the marketing info anyway :) this could be delivered via email 
or from an online download.
>
>My question is, how many of you would be interested in obtaining a custom 
>fit pattern electronically, with sewing directions, if you had to tape it 
>together?

Three years ago I bought some patternmaking software for my costuming 
business because I have NO drafting skills or training.  Once printed each 
piece had identifying code at the top so you got all the pieces arranged 
right.  It could be a pain if there were large open areas with no printing, 
but I would print facings, collars, etc. inside the skirt panels and then 
carefully cut them out without effecting the skirt piece's lines.

Having worked with this type of pattern before I would be likely to use an 
emailed pattern for a custom fitting historical pattern.  I love the way 
Margo's patterns have the extra info on the times too.  Anyone who is 
serious enough to order a personalized pattern is serious enough to 
appreciate knowing exactly when, where and how the garment would have been 
worn.

OK, with inflation that's my $.06.78's worth.

Jennifer

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From: "Jennifer Sena" <distantdesigns@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] Online patterns for making opera-length gloves?
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Date: Fri, 31 Jan 2003 14:34:06 -0800
Status: RO



>Just wondering whether you'd consider sewing gloves really hard, or no big 
>deal (easier to just go buy them, or...?) and if you might know of a place 
>I could get a pattern and instructions online that would be wonderful - 
>thanks!
>
At Christmas time I made a pair of gloves from light polar fleece with a 
pattern I bought at JoAnn's.  The construction is for a fabric that can't 
ravel, so I think there would be alot more edge finishing and probably more 
hand stitching than the ones I did.  The construction methods and piece 
shapes seem to be very close to what little glovemaking info I've been able 
to scrounge online.  You would just have to adjust the pieces for fit and 
finishing.

http://www.patternstudio.com/Products/Patterns/GloveGallery.html     --for 
pictures and info on gloves

http://www.glove.org/glovepattern.htm    --This is the most thorough 
pattern/glove making directions (and pretty much the ONLY ones)I was able to 
find after two months of half hearted looking.

I hope this helps.

Jennifer



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From: lilinah@earthlink.net
Subject: Re: [h-cost] where to go in Vienna
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Date: Fri, 31 Jan 2003 15:44:51 -0800
Status: RO

Katy Bishop <vintage@shore.net> wrote:
>  My 1830's gown is 1/2 done, with lots of handwork remaning.  I hate the
>  idea of stuffing the puffed sleeves in a suitcase.

When i made my 1830s gown - a cotton day dress, not a ball gown - the 
notes said that to achieve the big puff women often wore down filled 
pads inside. I didn't really want to try stuffing down into pads in 
my urban apartment, so...

I made poufs of soft netting - there are two kinds, one softer and 
finer and one larger and stiffer with slightly different names in the 
US, and i forget the name of what i used, but it was the softer finer 
stuff. Anyway, it was really inexpensive, so i could play with it. I 
gathered many layers to make a pad that gave me the size i liked, and 
pinned it into the seam. The "pads" were separate from the dress, and 
a good fluffing shake brought the pad back up. That way the sleeve 
didn't suffer much in packing.

Anahita
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To: lilinah@earthlink.net
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Subject: Re: [h-cost] where to go in Vienna
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Date: Fri, 31 Jan 2003 20:34:50 -0500 (EST)
Status: RO

On Fri, 31 Jan 2003 lilinah@earthlink.net wrote:
>
>When i made my 1830s gown - a cotton day dress, not a ball gown - the
>notes said that to achieve the big puff women often wore down filled
>pads inside. I didn't really want to try stuffing down into pads in
>my urban apartment, so...

Thanks, I wanted to make sleeve puffs, using an old down pillow's
stuffing.  Maybe for the next ball.  But the sleeve itself isn't as full
as I wanted.  I do have some semi circular stiff net sleeve heads and
I'll bring some tulle to stuff with.  That's what I get for hurrying,
but I had no time for a pattern test.  I will probably recut the sleeves
for future use.  I just love the thought of china silk down filled
sleeve puffs.  They had a great pair at the Boston Museum of Fine arts.
I wish I had had a digital camera when I was doing the textile and
costume inventory there!

I watched Onegin today for inspiration, wonderful late 1820's early
1830's costume ideas there!  Great hairstyles and dresses, and cute men.

Katy

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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From h-costume-admin@indra.com  Fri Jan 31 22:07:24 2003
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From: Katy Bishop <vintage@shore.net>
To: michiko <michiko@michiko.com>
cc: h-costume@indra.com
Subject: Re: [h-cost] Would love to see Katy's gown so far :) & Thank you
 Cathy (1800s gown colors)
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Date: Fri, 31 Jan 2003 20:30:23 -0500 (EST)
Status: RO


Well, you inspired me to take a couple of digital photos of the dress
pinned on the dress form I will add updates of the hopefully finished
dress, when I get back from Vienna.  They can be viewed on my website
here:

http://www.vintagevictorian.com/1830_dress.html

I have some ecru lace, about 5" wide that might be nice on the bodice as
well as blue ribbon, brocade garnet ribbon, and cream brocade ribbon.
Can't decide which to do, but that will wait until I am en-route.  I
will probably be sewing for the whole plane ride.

The hardest part of the trip was choosing mundane clothes to wear to the
performance of the Magic Flute at the State Opera!  I have no good
mundane dressy dresses.

You can see the other dress I will be wearing in Vienna, at the Strauss
ball, here:

http://www.vintagevictorian.com/gbh_appearances.html

It is the deep royal blue 1860's gown, made to portray First Lady Julia
Dent Grant.

This is a page I started showing some of the PBS film work our group has
done over the last couple of years.  The most recent being the American
Experience that was on a couple of weeks ago called "Chicago: City of
the Century."  Don't have any pictures of that one yet, but we got 1-2
minutes of coverage, doing 1890's waltz in the third episode.  This
web-page is far from finished, and not linked to my website yet.

I had considered taking an 1890's gown to Vienna but my favorite ones
are all so heavy, my only light one being way to summery.  You can see
some pictures of them here:

http://www.vintagevictorian.com/1890_dresses.html

All of these dresses were seen in the Chicago series (I made all but the
garnet and gold and the Blue).  I think 1890's might be the easiest era
to wear to a ball in Vienna, and the half circle skirts waltz
wonderfully.

Katy

On Fri, 31 Jan 2003, michiko wrote:

>>My 1830's gown is 1/2 done, with lots of handwork remaning.  I hate the
>>idea of stuffing the puffed sleeves in a suitcase.
>>
>>Katy
>
>Hiya Katy!
>
>If you haven't posted pics already (i.e. just in case I missed it) I
>would love love love to see your dress so far! I'm just starting mine
>(vacillating between the entire range of 1800s styles and would love
>to see what someone is doing :)
>
>When do you return from Austria? Sounds like we might just be
>crossing paths! I'll be arriving around Feb 20th or 25th or so (still
>researching flight options). Cheering you on! Sounds very excting!
>
>Best,
>Michiko
>
>
>
>
>Hi Cathy!
>
>THANK YOU so much for the info so far on the color schemes of
>ballgowns in the 1800s...whites to pastels, to brighter aniline dyes
>after the 1850s...brilliant! This is EXACTLY what I was hoping for!
>And the cotton bodice/poly skirt combination is a great suggestion as
>well! Would love those links if it's still convenient for you, and
>just wanted to say thank you again, so much! :)
>
>At the moment I'm still debating between that deep burgundy red (has
>the demure elegance of wearing a black dress without it actually
>being black) on a thinnish shirt-=like cotton (I'm assuming it will
>need a layer of interfacing as well as a muslin inner-lining?) ...
>and... the copper/coral/rust color (though now I know that was more
>likely a daytime color - thanks!) which is actually...gosh, I hope
>this is not totally gross...a poly liner fabric with a slight
>sheen...I'm tempted to try it because it seems like an unusual choice
>(and at $1 a yard it looks as fancy as the plain cotton) but I don't
>know if that's super cheesy of me? As long as it's interfaced and
>lined with a cotton (for danceability) could that still work, or am I
>heading straight for dance-disaster? Hee hee. (How some things
>suddenly start to really matter! ;) In terms of the color, it looks
>less severe and more playful than the matronly-serious
>burgundy..well, I am flim-flamming until it's actually time to buy
>the fabric (which I have to do today because they close on
>Saturdays). Feel free to cast your vote -- and sorry to be indecisive
>and a bit silly!
>
>Thanks again for the feedback!
>
>Best,
>Michiko
>--
>
>
>
>
>----------------------------------------
>Michiko Stehrenberger
>Illustration & Character Design
>BimBionic Design Lab | New York
>http://www.michiko.com
>----------------------------------------
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>

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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Subject: [h-cost] Onegin/Mansfield Park/cute men :)
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Date: Fri, 31 Jan 2003 23:14:10 -0500
Status: RO

>I watched Onegin today for inspiration, wonderful late 1820's early
>1830's costume ideas there!  Great hairstyles and dresses, and cute men.
>
>Katy



Is that the one with Ralph Fiennes in it? Had it on reserve at the 
library, but it still hasn't come in after 3 months  (someone's 
holding onto it -- is that why? hee hee :)

Oh, sorry to be quite a little off-topic on this!

Speaking of movies, wondering if anyone's seen Mansfield Park and 
what they thought of the main actress's costumes? I thought they were 
beautiful but seemed hip and modern (haven't researched yet what time 
period that was) but anyway, I'd love to wear any of those the next 
time I'm cast out and disinherited from a wealthy family and sent 
back to the docks, aye! :)

Also, had my first Vienna Waltz private lesson tonight - nice! And 
now I know a bit better what to incorporate into the dress so I don't 
trip all over the man (well, at least while dancing...you know what I 
mean :)

Hope you all have a great weekend! And...24 embroidered buttons, Leif?? :)

(Impressed!)


Best,
Michiko
-- 




----------------------------------------
Michiko Stehrenberger
Illustration & Character Design
BimBionic Design Lab | New York
http://www.michiko.com
----------------------------------------
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From: kris <ionization@shaw.ca>
Subject: Re: [h-cost] Historical Patterns printed at home
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Date: Fri, 31 Jan 2003 21:20:38 -0800
Status: RO


>My question is, how many of you would be interested in obtaining a custom 
>fit pattern electronically, with sewing directions, if you had to tape it 
>together?  The cost would be less than a commercially printed pattern as 
>the producer does not incur the printing cost or the shipping fees?  Of 
>course the quality of the pattern matters, but I am just asking about the 
>form of delivery at the moment.
>Cheers,
>
>Lisa Sinervo
>Threadneedle St. Clothiers
><http://www.ThreadneedleSt.com>www.ThreadneedleSt.com

me! me! :] There are some things that I just don't feel I have the skill to 
make without a pattern as a basis. This would be an awesome way of getting 
the patterns, even if I had to go to the local Kinko's and print it out.. 
(cheaper than replacing the ink cartridge on my printer :] )

kris 

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