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Date: Wed, 01 Oct 2003 09:10:21 -0700
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I buy rolls of the paper that covers the examination tables in medical
offices - $9 for a roll of about 100 yards. It's sturdier than wrapping
tissue but the widest it comes is 20".  The medical supplies store I go to
has two types; one works better than the other.

LynnD


On 9/30/03 7:57 PM, "Heather Rose Jones" <hrjones@socrates.berkeley.edu>
wrote:

> At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
>>> 
>>>  Right now I'm busily looking for a free/cheap paper source due to
>> economic considerations. I'm sure my local art store does have paper if
>> nothing else pans out.
>>> 
>> 
>> When I need large semi-transparent paper on a pattern-by-pattern
>> basis, I use paper tablecloths from the party section of discount
>> stores.
> 
> I once found a roll of paper tablecloth that even had an embossed
> pattern of one-inch squares!
> 
> Heather

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From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
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I buy 3 foot wide tracing paper in rolls from charrette (an architects
and art supplier.  It works great for tracing patterns as it does not
bleed through and it is sturdy enough to hold up to many pinnings when
cutting cloth.

www.charrette.com

I did a catalogue search for the word "trace"

.....and it seems they are once again carrying 4' wide tracing paper
again, great for tracing/patterning skirts!

Katy


On Wed, 1 Oct 2003, Lynn Downward wrote:

>I buy rolls of the paper that covers the examination tables in medical
>offices - $9 for a roll of about 100 yards. It's sturdier than wrapping
>tissue but the widest it comes is 20".  The medical supplies store I go to
>has two types; one works better than the other.
>
>LynnD
>
>
>On 9/30/03 7:57 PM, "Heather Rose Jones" <hrjones@socrates.berkeley.edu>
>wrote:
>
>> At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
>>>>
>>>>  Right now I'm busily looking for a free/cheap paper source due to
>>> economic considerations. I'm sure my local art store does have paper if
>>> nothing else pans out.
>>>>
>>>
>>> When I need large semi-transparent paper on a pattern-by-pattern
>>> basis, I use paper tablecloths from the party section of discount
>>> stores.
>>
>> I once found a roll of paper tablecloth that even had an embossed
>> pattern of one-inch squares!
>>
>> Heather
>
>_______________________________________________
>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-bounces@indra.com  Wed Oct  1 13:06:08 2003
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Date: Wed, 01 Oct 2003 10:09:16 -0700
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Status: RO

Ah, that's often the issue with tracing paper; it won't hold up to pinning.
I used to get the yellow architects' tracing paper, but I spent too much
time repairing my patterns after pinning. It just wasn't worth it.
LynnD

On 10/1/03 9:39 AM, "Katy Bishop" <vintage@shore.net> wrote:

> 
> I buy 3 foot wide tracing paper in rolls from charrette (an architects
> and art supplier.  It works great for tracing patterns as it does not
> bleed through and it is sturdy enough to hold up to many pinnings when
> cutting cloth.
> 
> www.charrette.com
> 
> I did a catalogue search for the word "trace"
> 
> .....and it seems they are once again carrying 4' wide tracing paper
> again, great for tracing/patterning skirts!
> 
> Katy
> 
> 
> On Wed, 1 Oct 2003, Lynn Downward wrote:
> 
>> I buy rolls of the paper that covers the examination tables in medical
>> offices - $9 for a roll of about 100 yards. It's sturdier than wrapping
>> tissue but the widest it comes is 20".  The medical supplies store I go to
>> has two types; one works better than the other.
>> 
>> LynnD
>> 
>> 
>> On 9/30/03 7:57 PM, "Heather Rose Jones" <hrjones@socrates.berkeley.edu>
>> wrote:
>> 
>>> At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
>>>>> 
>>>>>  Right now I'm busily looking for a free/cheap paper source due to
>>>> economic considerations. I'm sure my local art store does have paper if
>>>> nothing else pans out.
>>>>> 
>>>> 
>>>> When I need large semi-transparent paper on a pattern-by-pattern
>>>> basis, I use paper tablecloths from the party section of discount
>>>> stores.
>>> 
>>> I once found a roll of paper tablecloth that even had an embossed
>>> pattern of one-inch squares!
>>> 
>>> Heather
>> 
>> _______________________________________________
>> 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.
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

_______________________________________________
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From h-costume-bounces@indra.com  Wed Oct  1 13:22:57 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <BBA0584C.CF6%LDownward@chori.org>
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
Date: Wed, 1 Oct 2003 13:21:36 -0400
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I usually do all of my patterning with interfacing-like material. It is thin
enough to be able to trace something beneath it, yet has so far proven to be
fairly indestructible. It holds up to numerous pinnings, foldings, etc. It
is also easy to trace if you are copying the pattern for someone else.

----- Original Message ----- 
From: "Lynn Downward" <LDownward@chori.org>
To: "h costume" <h-costume@indra.com>
Sent: Wednesday, October 01, 2003 1:09 PM
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations


> Ah, that's often the issue with tracing paper; it won't hold up to
pinning.
> I used to get the yellow architects' tracing paper, but I spent too much
> time repairing my patterns after pinning. It just wasn't worth it.
> LynnD
>
> On 10/1/03 9:39 AM, "Katy Bishop" <vintage@shore.net> wrote:
>
> >
> > I buy 3 foot wide tracing paper in rolls from charrette (an architects
> > and art supplier.  It works great for tracing patterns as it does not
> > bleed through and it is sturdy enough to hold up to many pinnings when
> > cutting cloth.
> >
> > www.charrette.com
> >
> > I did a catalogue search for the word "trace"
> >
> > .....and it seems they are once again carrying 4' wide tracing paper
> > again, great for tracing/patterning skirts!
> >
> > Katy
> >
> >
> > On Wed, 1 Oct 2003, Lynn Downward wrote:
> >
> >> I buy rolls of the paper that covers the examination tables in medical
> >> offices - $9 for a roll of about 100 yards. It's sturdier than wrapping
> >> tissue but the widest it comes is 20".  The medical supplies store I go
to
> >> has two types; one works better than the other.
> >>
> >> LynnD
> >>
> >>
> >> On 9/30/03 7:57 PM, "Heather Rose Jones"
<hrjones@socrates.berkeley.edu>
> >> wrote:
> >>
> >>> At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
> >>>>>
> >>>>>  Right now I'm busily looking for a free/cheap paper source due to
> >>>> economic considerations. I'm sure my local art store does have paper
if
> >>>> nothing else pans out.
> >>>>>
> >>>>
> >>>> When I need large semi-transparent paper on a pattern-by-pattern
> >>>> basis, I use paper tablecloths from the party section of discount
> >>>> stores.
> >>>
> >>> I once found a roll of paper tablecloth that even had an embossed
> >>> pattern of one-inch squares!
> >>>
> >>> Heather
> >>
> >> _______________________________________________
> >> 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.
> >
> > _______________________________________________
> > 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: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: enlarging patterns/pattern paper/calculations
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Lynn Downward wrote:
> Ah, that's often the issue with tracing paper; it won't hold up to pinning.
> I used to get the yellow architects' tracing paper, but I spent too much
> time repairing my patterns after pinning. It just wasn't worth it.
> LynnD
> 

Once I've traced off my pattern and gotten the paper to the right size I 
either attach a fusible interfacing like Pellon or I transfer the 
pattern to muslin. The fusible stuff is really good for purchased 
patterns, too. I have some I have been using for more than 4 years and 
they hold up to repeated pinning very well.


Dawn



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From h-costume-bounces@indra.com  Wed Oct  1 14:02:53 2003
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re: enlarging patterns/pattern paper/calculations
Date: Wed, 1 Oct 2003 13:00:06 -0500
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I use sew-in interfacing to make doll patterns and to trace from originals
or from photocopy enlargements/reductions.  It holds up better than tissue
paper, is great for fitting patterns before cutting into fabric, presses up
better and faster than tissue paper, and lies so much nicer and neater on
fabric than tissue pattern paper or paper towels which is the more usual
recommended material for making doll patterns. You can buy it by the package
for small projects or by the yard for larger ones. Especially good for
multiple uses. although the drawbacks are cost of it and the time it takes
to trace over an existing pattern or making a "fair copy" for a final
pattern. It is great, though for being able to use multiple colors of pencil
or pen(pencil reccommended)on the same pattern draft to make tiny detail
changes without ripping or tearing as easily as tissue pattern paper.

Cindy Abel

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From h-costume-bounces@indra.com  Thu Oct  2 04:54:59 2003
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From: "Five Rivers" <lgsteph@wightman.ca>
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Subject: [h-cost] Men's Victorian Trousers
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    I've just finished making Gary's Victorian trousers from the Laughing
Moon pattern we carry (California Trousers) and thought I'd report. Again I
must say, WOW! Terrific pattern, fabulous engineering, very clear and
detailed instructions, superbly historically accurate. I'd have to say these
are without doubt the best historical patterns on the market. The best. And
you need to know I'm very hard to please. I used her pattern and
instructions for classic welts, and came out with simply the best welt
pockets I've ever done! Flat, perfect, very professional.

    If you're going to be making men's Victorian costume, whether it's
early, mid or late, I highly recommend these patterns.

    Hope to have pictures posted on our website in a week or two.

Regards
Lorina

Five Rivers Chapmanry ~ purveyors of quality hand-crafted cooperage
fine hand-sewn embroidered garments, historical sewing patterns & embroidery
supplies
(519) 799-5577, http://www.5rivers.org  email: info@5rivers.org

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From h-costume-bounces@indra.com  Thu Oct  2 10:07:03 2003
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I am looking for a particular image of a 15c v neck dress which shows a short length of lacing just below the v.  When I attended Robin's workshop on the GFD it was in one of the books that was laying around.  A medical health related book perhaps?  Would any one be able to provide the name of this book, (Robin?) and even better, a digital image.

Thanks,

Lisa Sinervo
www.thrednedlestrete.com
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Subject: Re: [h-cost] tv ad eye-candy
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I don't have TV access -- if anyone's seen this online, send me a link! 
  it sounds gorgeous.

.heather.


On Saturday, September 27, 2003, at 03:15 PM, Jean Waddie wrote:

> Heather Rose Jones <hrjones@socrates.berkeley.edu> wrote
>> Has anyone else (I guess this would be USA only) been admiring the HP 
>> image-enhancement-services ads sporting what I take to be an early 
>> 17th c. Dutch painting come to life?  (I'm embarrassed to confess 
>> that I don't recognize the painting/painter, but I'm reasonably 
>> confident about the time/place.)  It's the one with the young boy 
>> running through the streets, if that twigs anyone's memory.
>>
>> It's not my era to be good on specifics, but as a costume generalist, 
>> I was quite impressed with the clothing ... and there was a good deal 
>> of it.
>>
>> Heather
>
> We've got it too (maybe only on cable, I don't take note of what 
> channel I'm watching).  It is really gorgeous, isn't it?
>
> Jean
> -- 
> Jean Waddie
> _______________________________________________
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Subject: Re: [h-cost] tv ad eye-candy
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Here you are:
http://www.hp.com/hpinfo/newsroom/hpads/everything/tv.html

Scroll down to National Gallery... Just lovely!

kate

----- Original Message -----
From: "Heather Meadows" <alice@wonderland.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 02, 2003 10:48 AM
Subject: Re: [h-cost] tv ad eye-candy


> I don't have TV access -- if anyone's seen this online, send me a
link!
>   it sounds gorgeous.
>
> .heather.
>
>
> On Saturday, September 27, 2003, at 03:15 PM, Jean Waddie wrote:
>
> > Heather Rose Jones <hrjones@socrates.berkeley.edu> wrote
> >> Has anyone else (I guess this would be USA only) been admiring
the HP
> >> image-enhancement-services ads sporting what I take to be an
early
> >> 17th c. Dutch painting come to life?  (I'm embarrassed to confess
> >> that I don't recognize the painting/painter, but I'm reasonably
> >> confident about the time/place.)  It's the one with the young boy
> >> running through the streets, if that twigs anyone's memory.
> >>
> >> It's not my era to be good on specifics, but as a costume
generalist,
> >> I was quite impressed with the clothing ... and there was a good
deal
> >> of it.
> >>
> >> Heather
> >
> > We've got it too (maybe only on cable, I don't take note of what
> > channel I'm watching).  It is really gorgeous, isn't it?
> >
> > Jean
> > --
> > Jean Waddie
> > _______________________________________________
> > 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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Yeah Albert!  I used to use this a lot.  Soooo handy, esp. when your 
copy shop can run 11x17 or bigger paper in the copier.

In case your budget loosens up - or you see it on sale

Giant graph paper, sometimes called "presentation" graph paper, 1" grid, 
from the local Big Office Supply store.  My pad has about 50 sheets 26 x 
32 whole squares plus a little over on all 4 sides.  Around $15 or $20 iirc.

And there's always 1" check gingham, around $3/yard (watch for sales)

FWIW
Edwinna

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Date: Thu, 2 Oct 2003 08:28:23 -0700 (PDT)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
To: antir-costumers@antir.sca.org, aotc@yahoogroups.com, h-costume@indra.com
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Subject: [h-cost] Angharad's wedding clothing ideas
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First, a tremendous thank you to those who have
offered suggestions and help.  Second, apologies to
any who are on more than one of these three lists.

I think I've narrowed down the clothing for the
handfasting and wedding.  For the handfasting in June,
I will try to get a new cotehardie, and possibly a
hood, done for him and a new undergown and
short-sleeved overgown done for me.  For the wedding
itself, I will try to finish a nice headpiece and a
sideless surcoat.  I liked Robin's sideless I wore at
the seminar, even if the fabric wasn't completely
right, likely because of the design in the fabric and
the way it draped.

Problem for me is that the outfits Nick likes the most
are descriptions of velvet outfits like the ones Queen
Philippa wears for her churchings in _Fashion in the
Age of the Black Prince_.  The purple velvet robe
(which is a set of 5 pieces?) embroidered with gold
squirrels for 1330, a ghita with the powdered enamel
squares and quatrefoils of pearls surrounding them in
1342, and the blue velvet outfit she wore in
1348(trees with lots of details).  These outfits keep
talking about mantilletum, capa, open super tunic,
tunic, hoods and ghitas and I am honestly a bit lost
in the vocabulary.   These are pretty much all within
the timeframe Angharad and Eoghan are in too, which we
both definitely are happy about.  (He is considering
Sargeant's Trials for BAO next season, which means he
has been working on persona development.)

He also likes the descriptions of bezants-Menoni has a
glorious catalog of metalwork, and some of them look
like the shapes in the bezant mold in the book.  Some
could be backed onto leather to look like the square
plaque belts, and two others done in a geometric
diamond pattern with pearls and/or semi-precious
stones.  (for example as the pattern on the sideless
surcoat or his hood to catch the light)

 I like the notes in Stanisland's _Embroiderers_ book
where she is talking about these outfits as well, but
am not certain how much I follow and grasp the
concepts. (bezants, pearls, semi-precious stones and
creating buttons of the latter two especially)  

I know these are not everyday outfits being described,
but the concept for these outfits will be that they
will be our formal dressy stuff for big courts. And I
do see that Newton notes the similarities between a
lawyer's wife and the outfits worn by the Queen of
France and her daughters in here as well. 
Specifically a higher nobility, but possibly usable,
no?
 

I will at least be going to the LA garment district
the Monday following Thanksgiving-and will be looking
for at least the fabric for the gowns and cotes.  Plus
going through a few of the on-line stores that have
been mentioned in the past. Linings are fairly
easy--solid linens, the difficult part will be finding
the fashion layers.

So fabrics I am considering as the focus of my search
are linen for lining, tropical worsted wool, heavier
silk, and possibly cotton velvet/velveteen.  Darker
blue is what he wants to wear, and he is voting for
purple/violet as my primary colour. I admit to liking
that, since that is my favorite colour, I am just
trying to figure out how I could manage colours and
the layers mentioned above (at least an undergown,
short-sleeved overgown and a sideless).  I love all
three of these colours and would like to figure out a
non-clashing way to wear two of them.  Advice?

Attendents will get to choose between green and blue
for their coloursand we'll be working on GFD's for
them.  

Angharad


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From: Robin Netherton <robin@shell.nightowl.net>
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On Thu, 2 Oct 2003, Lisa Sinervo wrote:

> I am looking for a particular image of a 15c v neck dress which shows
> a short length of lacing just below the v.  When I attended Robin's
> workshop on the GFD it was in one of the books that was laying around.  
> A medical health related book perhaps?  Would any one be able to
> provide the name of this book, (Robin?) and even better, a digital
> image.

I know of several such images, but I'll need to dig them out. There are
some with lacing actually in the V, some with lacing (or a fur-edged slit)
that extends below the belt (given that the belt typically covers the line
just below the V point), and at least one of a woman being laced into a
V-necked dress, before the belt is put on. That last one is in "the
Medieval Art of Love," page 150 (Pygmalion story, illustrated I think by
Testard). In "The Medieval Book of Seasons," p. 26, is an image of two
lovers riding; the woman is in a V-necked dress whose lacing is
suggestively loose (both above and below the V-point). There was also a
brass on my handout (number 6) that shows the fur-edged V-opening
extending below the belt; I use that one in my talk too.

If you tell me more about the image you remember, I can try to narrow it
down.

--Robin

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Date: Thu, 02 Oct 2003 09:00:16 -0700
Subject: Re: [h-cost] Angharad's wedding clothing ideas
From: Lynn Downward <LDownward@chori.org>
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On 10/2/03 8:28 AM, "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com> wrote:

> First, a tremendous thank you to those who have
> offered suggestions and help.  Second, apologies to
> any who are on more than one of these three lists.
> 
SNIP description of clothing plans.>
> I will at least be going to the LA garment district
> the Monday following Thanksgiving-and will be looking
> for at least the fabric for the gowns and cotes.  Plus
> going through a few of the on-line stores that have
> been mentioned in the past. Linings are fairly
> easy--solid linens, the difficult part will be finding
> the fashion layers.
> 
> So fabrics I am considering as the focus of my search
> are linen for lining, tropical worsted wool, heavier
> silk, and possibly cotton velvet/velveteen.  Darker
> blue is what he wants to wear, and he is voting for
> purple/violet as my primary colour. I admit to liking
> that, since that is my favorite colour, I am just
> trying to figure out how I could manage colours and
> the layers mentioned above (at least an undergown,
> short-sleeved overgown and a sideless).  I love all
> three of these colours and would like to figure out a
> non-clashing way to wear two of them.  Advice?

Angharad, when you go to the fashion district, be certain to check out B.
Black for that tropical weight wool - they've got the best wools I've found
in L.A., and if you're buying lots, the price per yard often goes down.

B. Black & Sons are on Los Angeles, about 4(?) blocks up from the fabric
district going toward the jewelry district.

LynnD

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From h-costume-bounces@indra.com  Thu Oct  2 12:47:02 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 2 Oct 2003 18:50:16 +0200
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Subject: [h-cost] tv and eycandy
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Hi,
This wonderfull short cut film reminds me very much about the great film
they made of Molliere. Theatre Solleil's film about the life of Jean
Baptiste Molliere.
It has a big place in my heart.

Bjarne





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] tv ad eye-candy
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 --- ailith <ailith@neo.rr.com> wrote: > Here you are:
> http://www.hp.com/hpinfo/newsroom/hpads/everything/tv.html
> 
> Scroll down to National Gallery... Just lovely!
> 
> kate

Pfffts, demmit, I just get an internal server error.

Nicole *sobs*

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Let them eat Cake
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Hi.
A friend posted on Lumieres list, that the famous english comics French &
Saunders has made a film called Let them eat Cake. It is about 18th century
and the costumes, should be great. They are making the most fabolous
hairdo's two. It should be quite hillarious
As i am a great fan of French and Saunders, i really would like to get my
hands on this dvd.
But Amazon dont have it. I heard that some got it in Australia.
Does any of you know where i could get this goodie?
I would be very glad if you could help-

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Let them eat Cake
From: "Chiara" <chiara@io.com>
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Here, try this url:

http://www.webwombat.com.au/entertainment/dvds/eatcake.htm

or this one

http://www.google.com/search?hl=en&lr=&ie=UTF-8&oe=UTF-8&q=Let+them+eat+Cake+Movie+%22Jennifer+Saunders%22&btnG=Google+Search

> Hi.
> A friend posted on Lumieres list, that the famous english comics French
> & Saunders has made a film called Let them eat Cake. It is about 18th
> century and the costumes, should be great. They are making the most
> fabolous hairdo's two. It should be quite hillarious
> As i am a great fan of French and Saunders, i really would like to get
> my hands on this dvd.
> But Amazon dont have it. I heard that some got it in Australia.
> Does any of you know where i could get this goodie?
> I would be very glad if you could help-
>
> 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-bounces@indra.com  Thu Oct  2 20:38:09 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] image sought
Date: Thu, 2 Oct 2003 17:36:14 -0700
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well, not be be greedy, but I woudn't mind images of any and all you have
time to come up with as I am just trying to pass on some illustrations to a
15th century re-enactor who has never seen this dress lace up at all.

Are you able to scan and post to your web site yet?  Even one will do though
if you are pressed for time.

Thanks,

Lisa


----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 02, 2003 8:56 AM
Subject: Re: [h-cost] image sought


>
> On Thu, 2 Oct 2003, Lisa Sinervo wrote:
>
> > I am looking for a particular image of a 15c v neck dress which shows
> > a short length of lacing just below the v.  When I attended Robin's
> > workshop on the GFD it was in one of the books that was laying around.
> > A medical health related book perhaps?  Would any one be able to
> > provide the name of this book, (Robin?) and even better, a digital
> > image.
>
> I know of several such images, but I'll need to dig them out. There are
> some with lacing actually in the V, some with lacing (or a fur-edged slit)
> that extends below the belt (given that the belt typically covers the line
> just below the V point), and at least one of a woman being laced into a
> V-necked dress, before the belt is put on. That last one is in "the
> Medieval Art of Love," page 150 (Pygmalion story, illustrated I think by
> Testard). In "The Medieval Book of Seasons," p. 26, is an image of two
> lovers riding; the woman is in a V-necked dress whose lacing is
> suggestively loose (both above and below the V-point). There was also a
> brass on my handout (number 6) that shows the fur-edged V-opening
> extending below the belt; I use that one in my talk too.
>
> If you tell me more about the image you remember, I can try to narrow it
> down.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Let them eat Cake
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In a message dated 10/2/2003 3:24:46 PM Eastern Daylight Time, chiara@io.com 
writes:

> http://www.webwombat.com.au/entertainment/dvds/eatcake.htm
> 
> 

GREAT!!!! I love this girls! Their other DVDs are hysterical too. Their spoof 
on Dangerous Liaisons is a scream!
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From h-costume-bounces@indra.com  Thu Oct  2 21:16:37 2003
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] image sought
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On Thu, 2 Oct 2003, Lisa Sinervo wrote:

> Are you able to scan and post to your web site yet?  Even one will do
> though if you are pressed for time.

Sorry, no working scanner at the moment. And many of my images, if not in
books, are on slides, not digital. If I have a chance I'll take a spin
through some websites and see if I can locate some copies, but I rather
have my hands full at the moment.

--Robin

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no, I can look through websites myself.  Thanks for the names of the books
though.  That's helpful.

Lisa


----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 02, 2003 6:38 PM
Subject: Re: [h-cost] image sought


>
> On Thu, 2 Oct 2003, Lisa Sinervo wrote:
>
> > Are you able to scan and post to your web site yet?  Even one will do
> > though if you are pressed for time.
>
> Sorry, no working scanner at the moment. And many of my images, if not in
> books, are on slides, not digital. If I have a chance I'll take a spin
> through some websites and see if I can locate some copies, but I rather
> have my hands full at the moment.
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Date: Thu, 2 Oct 2003 20:33:16 -0700
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Subject: [h-cost] 
	Bjarne, speaking of Australian Costume Movies....was:Let them eat
	Cake
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Bjarne, have you seen The Adventures of Priscilla, Queen of the Desert
(1994) 

http://www.amazon.com/exec/obidos/tg/detail/-/0792843983/103-2379675-5071058
?v=glance

Sg


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Date: Thu, 2 Oct 2003 19:52:27 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: Bumrolls and farthingales -- together or not?
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At 9:53 AM -0400 9/28/03, Brenda wrote:
>Quite possibly, since the bent-rope farthingale will presumably be 
>not nearly as stiff as a metal, reed, or plastic-tubing hooped 
>farthingale.

Modern adaptation time: I'm looking to decrease the weight of my 
Elizabethan garb, and have been advised to try the plastic tubing in 
my farthingale, since it's very light and still fairly stiff. 
(Currently I'm using the steel strapping that comes wrapped around 
lumber shipments -- readily available and FREE, but heavy.)

So what kind of plastic tubing do I want, and what diameter? The 
people who recommended it to me didn't know the specifics.

For this purpose, I'm willing to use non-historical shortcuts if they 
don't show, since what I'm trying to do is to get through nine hours 
in full-dress Elizabethans in the summer heat without becoming so 
tired that I get sick :(

(I'm not neglecting other solutions either, BTW -- part of the plan 
is for a new gown of lighter-weight wool. Gabardine, washed a couple 
of times to look less modern, seems to be the best candidate so far 
-- I have a very nice 13th-century gown in exactly that fabric.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From h-costume-bounces@indra.com  Fri Oct  3 05:20:46 2003
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: [h-cost] 18th century dress question/ Pirates of the Caribbean
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Hi,

I am planning to make an Elisabeth Swan dress for a Fantasy Fair, since 
my husband wants to go as Jack Sparrow.
But I cant seem to determine what I want to make. I don't want to 
recreate a dress from the movie but rather a dress from that period.
But as in most costume movies the costumes are a mixture of differen 
styles. 18th century is not my period.
I want a dress so that people who have seen the movie would say "Hey 
that is Elisabeth!".
http://www.deredere.dds.nl/Pirates/POTC.html

Greetings,
        Deredere


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From h-costume-bounces@indra.com  Fri Oct  3 07:08:08 2003
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Subject: Re: [h-cost] image sought
Date: Fri, 3 Oct 2003 23:06:52 +1200
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> That last one is in "the
> Medieval Art of Love," page 150 (Pygmalion story, illustrated I think by
> Testard).

But that dress is sort of a mix of the kirtle and outergown, as the neckline
is like an outer gown but it has short sleeves, and her shift sleeves can be
seen (crumpled grey-white looks like every other shift sleeve I've seen
depicted in illuminations at this time.) Any idea how allegorical this dress
is supposed to be? The dress is also quite fitted through the body, like
some other gowns I've seen as they are not all extremely full from the belt
down. There is a train to the skirt and it has a border of a differnt colour
to the dress, which is atypical of kirtles (self coloured "flounce" usually)
and more typical for a gown... I just find the image really interesting and
odd.

Thank you for mentioning the image, it's given me somehting to ponder.

BTW I have this book on hand I can take a photo of it so others can see (I
find the res to be much better than my scanner which is actually hooked up
to another computor;) )

I did come across a few images that show lacing both under and with the over
gown (as in the V gown not the open gown I was focused on). Some clearly
were the kirtle (as there was a  sheer parlet over the lacing) and other
times it appeared to be the gown (lacing uner the lacing.)

I have them all made for a web page so if anyone was interested I'd put the
Testard (who happens to be one of my favourite artists) image up with the
other interesting lacing things.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Re: Bumrolls and farthingales -- together or not?
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On Thu, 2 Oct 2003 19:52:27 -0700 Chris Laning <claning@igc.org> writes:
> 
> For this purpose, I'm willing to use non-historical shortcuts if 
> they don't show, since what I'm trying to do is to get through nine
hours 
> in full-dress Elizabethans in the summer heat without becoming so 
> tired that I get sick :(
> 
> (I'm not neglecting other solutions either, BTW -- (snip)


I'm going to jump in here and recommend something that's not directly
costume related. I've been doing Bristol Faire here in the MidWest since
1989, most of it in full Court Elizabethans. I've seen alot of people
suit up for the run of the Faire. I've also seen lots of people go down
from the heat. One of the things that seems to make a huge difference is
how good a physical condition the person is in. If you are concerned
about making it thru a Faire day, I'd say start a conditioning program
now. Unless you are bed-ridden, you can begin with just an energetic walk
around the block and slowly work up from there. Also, spend time in
non-air-conditioned environments, preferably doing some form of activity.
RenFaires are the costuming equivalent of running a marathon- you
wouldn't go out one day and just decide to run 26.2 miles now would you?
You wouldn't think "Running a marathon will be hard, I'd better make sure
my clothing is light but I'm not going to actively train for it" would
you? Also, if you smoke- start cutting back. It's your choice whether to
smoke or not, but the smokers in my Guild have alot more trouble with the
heat and exhaustion than the non-smokers. In all seriousness, making your
costume a few ounces lighter may help a little bit, but in the long run,
being in better physical shape will do more towards making the Faire not
just survivable, but enjoyable.

Just my tuppence as a gizzled old Faire vet,


Karen

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Let them eat Cake
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Hi Albertcat.
Their spoof on Dangerous Liaisons? Is that another film they have made?
Then i have to get my hands in that one two, what is it called?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, October 03, 2003 3:09 AM
Subject: Re: [h-cost] Let them eat Cake


> In a message dated 10/2/2003 3:24:46 PM Eastern Daylight Time,
chiara@io.com
> writes:
>
> > http://www.webwombat.com.au/entertainment/dvds/eatcake.htm
> >
> >
>
> GREAT!!!! I love this girls! Their other DVDs are hysterical too. Their
spoof
> on Dangerous Liaisons is a scream!
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Subject: Re: [h-cost] Bjarne, speaking of Australian Costume Movies....was:Let
	them eatCake
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Hi Saragrace,
Yes i did see that. It was quite funny and sad two.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, October 03, 2003 5:33 AM
Subject: [h-cost] Bjarne, speaking of Australian Costume Movies....was:Let
them eatCake


> Bjarne, have you seen The Adventures of Priscilla, Queen of the Desert
> (1994)
>
>
http://www.amazon.com/exec/obidos/tg/detail/-/0792843983/103-2379675-5071058
> ?v=glance
>
> Sg
>
>
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From h-costume-bounces@indra.com  Fri Oct  3 10:17:41 2003
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Subject: Re: [h-cost] 18th century dress question/ Pirates of the Caribbean
Date: Fri, 3 Oct 2003 16:16:59 +0200
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Hi Deredere.
I have not seen that movie yeat, so i cant speak or help from it.
But what about a beautifull silk corset ( like the one Nicole has) in a
vivid colour and then a chemise under it.
Then you just need a skirt and a small bumroll.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "H-Costume" <h-costume@indra.com>
Sent: Friday, October 03, 2003 11:24 AM
Subject: [h-cost] 18th century dress question/ Pirates of the Caribbean


> Hi,
>
> I am planning to make an Elisabeth Swan dress for a Fantasy Fair, since
> my husband wants to go as Jack Sparrow.
> But I cant seem to determine what I want to make. I don't want to
> recreate a dress from the movie but rather a dress from that period.
> But as in most costume movies the costumes are a mixture of differen
> styles. 18th century is not my period.
> I want a dress so that people who have seen the movie would say "Hey
> that is Elisabeth!".
> http://www.deredere.dds.nl/Pirates/POTC.html
>
> Greetings,
>         Deredere
>
>
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From h-costume-bounces@indra.com  Fri Oct  3 10:21:23 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] 18th century dress question/ Pirates of the Caribbean
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 --- Deredere Galbraith <triade@kabelfoon.nl> wrote: > Hi,
> 
> I am planning to make an Elisabeth Swan dress for a Fantasy Fair, since 
> my husband wants to go as Jack Sparrow.
> But I cant seem to determine what I want to make. I don't want to 
> recreate a dress from the movie but rather a dress from that period.
> But as in most costume movies the costumes are a mixture of differen 
> styles. 18th century is not my period.
> I want a dress so that people who have seen the movie would say "Hey 
> that is Elisabeth!".
> http://www.deredere.dds.nl/Pirates/POTC.html

Deredere, this is the best list for PotC costumes:

http://groups.yahoo.com/group/potccostuming/

The other two are pretty quiet. personally I think if you made something like
the peach dress that would be most recognisable.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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In a message dated 10/3/2003 10:13:03 AM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:

> Their spoof on Dangerous Liaisons? Is that another film they have made?
> 

No. Just a skit from their TV show. I can't remember which DVD it's on. 
"Gentlemen Prefer French & Saunders" I think. [There're also spoofs of "Thelma & 
Louise", "Silence of the Lambs", "Gone with the Wind", "Misery"....and on and 
on.]
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Hey, they don't look too all over the century to me. Not bad costumes at all. 
Who is the designer of the film? [I won't go see it until it's out on DVD]
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Okay, now this is getting interesting.......... because I would have to agree that Abbey shoe of Mary Queen of Scots seems to be from a later period, I decided to remove the image, after all, I am wanting to provide accurate information to site visitors.  A couple days after removing the image, I decided to to a search on google and see if my page still came up with "shoe Mary Queen of Scots" as the keywords, it didn't but another shoe that also looks like it is from a later time period popped up.  See http://www.marie-stuart.co.uk/objects.htm  The text next to it states "One of Mary's possessions which can be seen at Traquair House (see places to visit in this site). The shoe is remarkably small for such a tall woman. Traquair House has confirmed that this shoe as well as two other items, were donated by a lady who had always held the items in her family for generations. Her connections were with Mary Seton, a lady-in-waiting to Mary Queen of Scots."

So, a similar story.......

What does everyone think of the shoe on this site?  Early 18th century too?  Apparently Mary Queen of Scots was about six feet tall, from another website, I don't know how accurate the info is though.

now I'm puzzled about this even more........ I wonder if there are any more?

Lisa Sinervo
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Here's something you folks might enjoy, forwarded by permission from another
list.

Lloyd Mitchell

----- Original Message ----- 
From: "David Ritchie"


    From swords to...umbrellas.

    If anyone has anything to say on the subject, any literary or other
cultural references that may help with my current investigation, please feel
free.

    Here are some notes, a sketch of what I have so far.

    At beginning of the nineteenth century the Duke of Wellington scribbled
a note asking that his officers desist; they had taken to opening umbrellas
on the battlefield, when the enemy shot at them.  In 1870, when he came to
dictate his memoirs while en route to treat with Red Cloud at Fort Laramie,
Colonel Robert Campbell of St. Louis, thought worth recording a visit by
Indians to St. Louis, back in 1825.  "The Indians all bought umbrellas and
walked in Indian file, bare headed with the umbrellas spread over them,
making a ludicrous appearance.  The first thing they had done on reaching
town was to buy up all the red umbrellas."  Their inspiration may have been
Giacomo Costantino Beltrami who in 1823 (I quote from the dust jacket of a
book), "With no experience whatever, with no scientific instruments, with no
military escort and wholly at his own expense, ... conducted a fantastic
one-man expedition on the American frontier.  He ventured into unknown
territory with confidence and boldness, and the red umbrella that formed
part of his baggage not only sheltered his supplies from the elements, but
served as a passport to safety among Sioux and Chippewa Indians that he
encountered on his quest."  He had been in Napoleon's army.

    Here's what my Brittanica says on the subject, ³Umbrella² (ombrella,
Ital. dim. from Lat. umbra, shade) started out as a provider of shade.  In
Eastern countries from the earliest times the umbrella was one of the
insignia of royalty and power.  On the sculptured remains of ancient Nineveh
and Egypt there are representations of kings and sometimes of lesser
potentates going in procession with an umbrella carried over their heads;
and throughout Asia the umbrella had, and still has something of the same
significance.  The Mahratta princes of India had among their titles, 'lord
of the umbrella.'  In 1855 the king of Burma in addressing the
governor-general of India termed himself 'the monarch who reigns over the
great umbrella-wearing chiefs of the Eastern countries.'  The baldachins
erected over ecclesiastical chairs, altars and portals, and the canopies of
thrones and pulpits, etc. are in their origin closely related to umbrellas,
and have the same symbolic significance.  In each of the basilican churches
of Rome there still hangs a large umbrella.

    "Among the Greeks and Romans the umbrella was used by ladies, while the
carrying of it by men was regarded as a sign of effiminacy.  Porbably in
these southern climes it ner went out of use, and allusions by Montaigne
show that in his day its employment as a sunshade was quite common in Italy.
The umbrella was not unknown in England in the 17th century, and was already
used as a rain protector.  Michael Drayton, writing about the beginning of
the seventeenth century, says, speaking of doves:--

    And like umbrellas, with their feathers
    Shield you in all sorts of weathers.

    "Although it was the practice to keep an umbrella in the coffee-houses
early in the 18th century, its use cannot have been very familiar, for in
1752 Colonel Wolfe, writing from Paris, mentions the carrying of them there
as a defence against both rain and sun, and wonders that they are not
introduced into England.  The traveller Jonas Hanway, who died in 1786, is
credited with having been the first Englishman who habitually carried an
umbrella.

    "The umbrella, as at first used, was based on its Eastern prototype, and
was a heavy, ungainly article which did not hold well together.  It had a
long handle, with ribs of whalebone or cane, very rarely of metal, and
stretchers of cane.  The jointing of the ribs and stretchers to the stick
and to each other was very rough and imperfect.  The covering material
consisted of oiled silk or cotton, heavy in substance, and liable to stick
together in the folds.  Gingham soon came to be substituted for the oiled
cloth, and in 1848 William Sangster patented the use of alpaca as an
umbrella covering material.  One of the most notable inventions for
combinging lightness, strength and elasticity in the ribs of umbrellas was
the ³Paragon² rib patented by Samuel Fox in 1852.  It is formed of a thin
strip of steel rolled into a U or trough section, a form which gives great
strength for the weight of metal.  Umbrella silk is chiefly made at Lyons
and Crefeld; much of it is so loaded that it cuts readily at the folds.
Textures of pure silk or of silk and alpaca miexd have better wear-resisting
properties.² (1926 ed.)

    No relationship between Umbrians and Umbrella.  Shadowy people?

    I find all this quite fascinating, and wonder whether when my students
insist--despite the fact that we live in a city that is famous for its
rain-- on not carrying umbrellas, they are worried by some distant echo of
effeminacy charges.  Perhaps they don't want to appear too regal?  When
asked, they say only that umbrellas are not cool.

    Maybe I should try to sell them red ones, made of alpaca and silk.

David Ritchie
Portland, Oregon

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I didn't think any of the dresses was a Robe a la Francais - I thought 
they were all fitted in to the waist.  It's not really my period, but I 
didn't see anything that jarred - except her chemise (which she runs 
about it quite a lot), which looked a bit GFD and was laced down the 
outside of the arms! But I can recognise the theatrical necessity of 
having something tight and opaque that she could run and climb and swim 
in without being indecent. All the rest was lovely - wonderful film!

Jean



AlbertCat@aol.com wrote
>Hey, they don't look too all over the century to me. Not bad costumes at all.
>Who is the designer of the film? [I won't go see it until it's out on DVD]
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-- 
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Ooooh these sound great.  Why doesn't Netflix have them yet, drat it?!?


On Friday, October 3, 2003, at 07:48 AM, AlbertCat@aol.com wrote:

> In a message dated 10/3/2003 10:13:03 AM Eastern Daylight Time,
> drewscph@post12.tele.dk writes:
>
>> Their spoof on Dangerous Liaisons? Is that another film they have 
>> made?
>>
>
> No. Just a skit from their TV show. I can't remember which DVD it's on.
> "Gentlemen Prefer French & Saunders" I think. [There're also spoofs of 
> "Thelma &
> Louise", "Silence of the Lambs", "Gone with the Wind", "Misery"....and 
> on and
> on.]
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Medical exam paper isn't as thick as art paper, but it's very very 
cheap.


On Monday, September 29, 2003, at 06:50 PM, A.Thurman wrote:

> I'm listening, Albert! I'm listening to all of you, and saving these 
> emails. You've all offered some very good suggestions!
>
> Right now I'm busily looking for a free/cheap paper source due to 
> economic considerations. I'm sure my local art store does have paper 
> if nothing else pans out.
>
> Then what I'm going to do is apply Albert's math to the pattern and 
> see what I can do. It is a *very* simple pattern, mostly perpendicular 
> straight lines with a curved edge. It is a cape, so no sleeves, 
> armholes etc. to worry with. If I can get one of my measurements to 
> coordinate with one of the pattern measurements, it should be a good 
> start (crosses fingers).
>
> Thank you all!
>
> Allison T.
>
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Yes, that's the stuff I use!  You can get it even cheaper if you buy it 
by the case,
and have folks to split it with.


On Wednesday, October 1, 2003, at 09:10 AM, Lynn Downward wrote:

> I buy rolls of the paper that covers the examination tables in medical
> offices - $9 for a roll of about 100 yards. It's sturdier than wrapping
> tissue but the widest it comes is 20".  The medical supplies store I 
> go to
> has two types; one works better than the other.
>
> LynnD
>
>
> On 9/30/03 7:57 PM, "Heather Rose Jones" 
> <hrjones@socrates.berkeley.edu>
> wrote:
>
>> At 1:56 PM -0400 9/30/03, <mudsleidi@cox.net> wrote:
>>>>
>>>>  Right now I'm busily looking for a free/cheap paper source due to
>>> economic considerations. I'm sure my local art store does have paper 
>>> if
>>> nothing else pans out.
>>>>
>>>
>>> When I need large semi-transparent paper on a pattern-by-pattern
>>> basis, I use paper tablecloths from the party section of discount
>>> stores.
>>
>> I once found a roll of paper tablecloth that even had an embossed
>> pattern of one-inch squares!
>>
>> Heather
>
> _______________________________________________
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>From "Elizabethan Pageantry" by H.K. Morse:

"...many of them doe carry other fine things (than fans) of a far greater price, that will cost, at the least a duckat, which they commonly call in the Italian tongue umbrellaes, that is, things that minister shadow unto them for shelter against the scorching heate of the sunne.  These are made of leather, something answerable to the forme of a little cannopy, and hooped in the inside with divers little wooden hoopes that extend the umbrella in a pretty large compasse.  They are used especially by horsemen, who carry them in their hands when they ride, fastning the end of the handle upone one of their thighes, and they impart so large a shadow unto them, that it keepeth the heate of the sunne from the upper parts of their bodies"....  Crudites  

[I have not been able to confirm a date on this entry-}

>From the same source-

"an umbrello of perfumed leather with a gould fryndge abouwte yt which I broughte out of Italie" (Will of R. Toft, 1618, Fairholt)

The will of course was made in the 17th century, but the dating of this "umbrello"'s entry into England is not recorded.  

Doesn't it seem like a leather umbrella with wooden hoops would be heavy??  But then, having done full Elizabethan Nobles in 104 degree Southern California, what price shade?  Any price!  Too bad the confirmable dates are alas too late.  There is also a reference in the dubious Norris regarding Mary Queen of Scots carrying an umbrella of sorts, but then again, perhaps it went with her 18th century shoes!

 


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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From: "Mildred" <mildred@thebartholomews.com>
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Subject: [h-cost] shopping in NYC?
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I'm going to NYC the first week of November. I'm looking for two kinds of
shopping

1. fabric and notions that I cannot get in Los Angeles
2. large-size women's clothing stores

Can anyone help?

Many thanks,
Luanne Bartholomew

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In a message dated 10/5/2003 3:09:24 AM Eastern Standard Time, 
mildred@thebartholomews.com writes:
1. fabric and notions that I cannot get in Los Angeles
2. large-size women's clothing stores
Well, let's see.  I'm not entirely sure what you can get in LA, being that I 
REALLY want to go there for the garment district!  
However!  At 355 Broadway, there's P&S Fabrics, which I like because the 
fabric-cutter knows me (and always has a special deal).  They have a pretty nice 
apparel section, but the best is their home-dec section.  Brocades, basics, 
sheers... Yummy stuff, basically.  I have a lovely piece of brocade that I 
haven't used yet, but simply had to have.

Large-sized women's stores.  That partially depends on what type of clothing 
you're looking for.  If you'd like professional-type clothing (i.e. business 
suits), tell me and I'll ask my mother- she's the guru of that, knows all the 
nice places in the city, especially ones that are discounted.  Like Foreman's 
and Century 21.  She doesn't shop at Foreman's much anymore because she's 
retiring.  But she still knows lots of good places.

Christine
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Subject: [h-cost] Re:Umbrellas
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I find this extremely interesting.  Thanks for posting!

Your comment regarding your students, in Porland, was personally very 
interesting as well.  I grew up in a North Western Washington city called 
Bellingham where, like Portland, rain is an extremely common occurance. All 
the years that I lived there, no one in my family ever owned an umbrella.  
In fact, we laughed at people who used them.  It was a sure sign that they 
were from out of town - usually from California.

In my life I have owned one umbrella.  I was about 6 years old.  It was red 
with white pockadots.  It was my Annie umbrella.  But even then, it was a 
toy to be used when I played dress up.  I don't think a drop of rain ever 
touched it's beautiful red fabric!

Now that I'm away from home - living in Southern California - I still would 
not dream of owning an umbrella.  Granted, it rains a whole lot less in 
Sunny San Diego but people here are very concerned that they have their 
umbrella with them if it looks like the tiniest chance of rain.

I guess that in my head it's a futile attempt to get away from nature.  It's 
a sign that I can't deal with something as natural and normal as rain.  I 
also love the feeling of rain falling on my head.  My curls start to frizz 
and the layers of So-Cal dust start to crack and fall off.  The old Jessica 
peaks out and curls her toes.  I feel energized by the rain.  It's a new 
beginning - a bath for the world.

My husband, who was born and raised in the So-Cal deserts lived in WA for a 
few years.  We met up there and our courtship primarily took place dripping 
wet.  We both have the same contempt for umbrellas.  I think his was learned 
in his time there.  It may be as simple as the old addage of "It's just not 
cool."  But I'm not really sure if there is not more to it then that...

:)  jessica

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] re:  umbrellas
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H.K. Morse's bibliography lists Thomas Coryat's "Crudities" edition of 1611.
I will be adding Morse's bibliography to my site to go with the glossary but
I have been distracted by the discovery of the Early English Books Online
database this last month.  What a find that is!  It's just filled with
period books from custom rates for clothing (as well as a book on custom
rates for sins - the price of indulgences) books on cosmetics, juggling, the
discovery of the telescope etc.,  etc......  I've downloaded quite a few and
will be webbing quite a few in the months to come.


Lisa Sinervo
www.thrednedlestrete.com



>
> >From "Elizabethan Pageantry" by H.K. Morse:
>
> "...many of them doe carry other fine things (than fans) of a far greater
price, that will cost, at the least a duckat, which they commonly call in
the Italian tongue umbrellaes, that is, things that minister shadow unto
them for shelter against the scorching heate of the sunne.  These are made
of leather, something answerable to the forme of a little cannopy, and
hooped in the inside with divers little wooden hoopes that extend the
umbrella in a pretty large compasse.  They are used especially by horsemen,
who carry them in their hands when they ride, fastning the end of the handle
upone one of their thighes, and they impart so large a shadow unto them,
that it keepeth the heate of the sunne from the upper parts of their
bodies"....  Crudites
>
> [I have not been able to confirm a date on this entry-}
>



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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: <Flemish_Garb@yahoogroups.com>, <h-costume@indra.com>,
   <GermanRenCostume@yahoogroups.com>
Date: Sun, 5 Oct 2003 08:11:15 -0700
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Subject: [h-cost] Circle skirts...
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Sorry about the cross posts.....

Well we finally got to the point of doing skirts in our Flemish class
Friday.  To do organ pipe pleats (OPP), or modified OPP, it is easier to
work with a circular skirt.

We were contemplating the drape of skirts which appear to only have a few
pleats towards the center back.  I must credit Heather for pointing out that
they do not appear to be full circle skirts.  Our discussions led us to
question whether or not folks would have had the math skills to do all the
calculations associated with less than full skirts (i.e. 1/4, 1/2, 3/4).  

At Heathers suggestion I created 1/4 scale skirts of 1/4, 1/2, 3/4 and full
circles.  I will also be cutting them on various grainlines as that also
affects the drape considerably.  We have decided to use them to illustrate
the draping differences we observed.  So when I finally get to the organ
pipe pleating document, we will include these observations as well.

Sooooo finally, my discussions point or question is this....what are your
observations and research telling you about the use of circle skirts.  We
know that at least some of the Waffenrocks were cut in truncated triangles
which eventually led to a circular skirt and that some of the patterns in
Juan Algacea's patterns are at least modified circles.   We discussed that a
dressmaker would probably have the skills, but what about the middle
classes?  

Thanks, 

Sg

 


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Might you have the URL for this?

Thanks,
Arlys

Early English Books Online database this last month.  
> Lisa Sinervo
> www.thrednedlestrete.com


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Saragrace T. Knauf wrote:

   We discussed that a
> dressmaker would probably have the skills, but what about the middle
> classes?  

I think I was about 7 when I figured out circle skirts for my dolls. I 
may not have understood the math behind it, but I got the concepts 
involved in making full-circle and half-circle skirts. I don't think you 
have to be terribly well educated to be able to learn and construct 
simple clothing, as long as you are willing and have someone show you 
the basics. It's very easy to copy a pattern idea and still not 
understand why it works.



Dawn


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Early English Books Online is a subscription only service found typically at
large libraries.  The books are out of copyright but there is a licensing
agreement involved in using the service (of course) which says the books are
not for republication but for research only.  If you are needing some book
for research purposes and can't get access to the service, you are welcome
to email me at Lisa@Thrednedlestrete.com and I'll do what I can to assist.
I wish the copyright laws were more clear because there is debate about
using licensing agreements to create essentially a copyright where none
indeed exists, but due to my own personal financial limitations, I don't
wish to be the case that goes to court to get a final ruling on the
situation.  Plus, the EEBO is an excellent service and needs subscription
fees to keep running and improving.

Lisa

----- Original Message -----
From: "Cynthia J Ley" <cley@juno.com>
To: <h-costume@indra.com>
Sent: Sunday, October 05, 2003 8:31 AM
Subject: Re: [h-cost] re: umbrellas


> Might you have the URL for this?
>
> Thanks,
> Arlys
>
> Early English Books Online database this last month.
> > Lisa Sinervo
> > www.thrednedlestrete.com
>
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
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Subject: [h-cost] Was "umbrellas"  now EEBO
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Early English Books On-Line can be found here:

http://wwwlib.umi.com/eebo/

However, without an authorized sign-in, you can only 
sample it (BIG samples, however).  Click on "Featured 
Content-Free" and browse the lists on the page- you 
can see many pages and images per item of each of the 
"100 Best" lists and get some other free content.  I 
crawled through the help screens and found this e-mail 
address:
 
pqsales@il.proquest.com 

as a contact for further info about EEBO.  This looks 
like the best bet for finding out how to get an authorized 
sign-in.  I'll post again if I find some additional info.

Enjoy what's there, 

                -Aidan


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From h-costume-bounces@indra.com  Sun Oct  5 13:59:12 2003
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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] EEBO
To: Historical Costume <h-costume@indra.com>
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Yes, sure, and the subscription fees are three thousand pounds sterling that a
tiny History department like mine can't afford!!!!
So much for information being available for research. *unhappy snort*

I rely on them, and now I don't know how the heck to get to the resources I
need. I research part-time, I can't soend weeks in the British Library, nor can
my supervisors.

Nicole - not happy coz EEBO is the bets resource ever... theoretically!

 --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Early English Books
Online is a subscription only service found typically at
> large libraries.  The books are out of copyright but there is a licensing
> agreement involved in using the service (of course) which says the books are
> not for republication but for research only.  If you are needing some book
> for research purposes and can't get access to the service, you are welcome
> to email me at Lisa@Thrednedlestrete.com and I'll do what I can to assist.
> I wish the copyright laws were more clear because there is debate about
> using licensing agreements to create essentially a copyright where none
> indeed exists, but due to my own personal financial limitations, I don't
> wish to be the case that goes to court to get a final ruling on the
> situation.  Plus, the EEBO is an excellent service and needs subscription
> fees to keep running and improving.
> 
> Lisa
> 
> ----- Original Message -----
> From: "Cynthia J Ley" <cley@juno.com>
> To: <h-costume@indra.com>
> Sent: Sunday, October 05, 2003 8:31 AM
> Subject: Re: [h-cost] re: umbrellas
> 
> 
> > Might you have the URL for this?
> >
> > Thanks,
> > Arlys
> >
> > Early English Books Online database this last month.
> > > Lisa Sinervo
> > > www.thrednedlestrete.com
> >
> >
> > ________________________________________________________________
> > The best thing to hit the internet in years - Juno SpeedBand!
> > Surf the web up to FIVE TIMES FASTER!
> > Only $14.95/ month - visit www.juno.com to sign up today!
> > _______________________________________________
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=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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Christine responds to Mildred:

>>1. fabric and notions that I cannot get in Los Angeles
>>2. large-size women's clothing stores

>At 355 Broadway, there's P&S Fabrics, which I like because the
>fabric-cutter knows me (and always has a special deal).

That sounds like it's just north of City Hall... unless Christine missed a 
digit somewhere (3500 Bway should be near the Garment District.)

>They have a pretty nice apparel section, but the best is their home-dec 
>section.  Brocades, basics, sheers... Yummy stuff, basically.  I have a 
>lovely piece of brocade that I
>haven't used yet, but simply had to have.

I just did a little bit of browsing (and for me, a lot of buying) in the 
Garment District yesterday afternoon (yes, Saturday! Boy, was I surprised 
-- but it looks like a lot of the stores of the type that *used* to be 
owned primarily by Orthodox Jews are now owned by Indian immigrants). 
Essentially, I just browsed a bit on 8th Avenue walking towards Penn 
Station, but I saw a place open on 39th just in from the corner, and ended 
up buying some linen and some wool there. I didn't go into, but have to 
check out, a store on 8th Avenue that I think was between 37th and 
38th:  through the window you could see bolts of velvets with lots of 
intricate gold- and silver-toned embroidery. I didn't go in because by then 
I was carrying two large shopping bags of fabric, plus a bag of goodies 
from the event I'd been to earlier that day (_SELF_ Magazine's "Workout in 
the Park" -- which I heartily suggest to *everyone* who lives in a city 
that it comes to!). I want a closer look!

The Garment District in general extends from about 36th-40th Streets 
north-and-south, between Broadway and 8th Avenue east-and-west, but there 
are stores in the blocks just outside that area as well. Most of the 
traditional Garment District stores have been wholesale only, but it looks 
like more of them are dealing retail than used to be.

You will also want to check out trimmings and millinery supplies. While 
some notion and trim suppliers can be found amongst the Garment District 
stores, there are a few in the Millinery district just to the east of the 
Garment District (about 35th-39th Streets, between 5th Avenue and Avenue of 
the Americas (aka 6th Ave.)). M & J trimmings is there, there are a couple 
of millinery-supply houses, and -- if they are still around -- Cinderella 
(bridal trims, millinery, and jewelry/hair supplies) on 36th St. and Sheru 
(beads, beads, more beads, trims, buttons, and more) on 38th St.

And you may want to check out the Lower East Side (Delancy St. on the F 
train). Most of the fabric vendors have moved out of that area years ago, 
but you may still be able to find a bargain.


Hope this helps!



Brenda
webwarren@earthlink.net


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> I guess that in my head it's a futile attempt to get away from nature.
It's
> a sign that I can't deal with something as natural and normal as rain.  I
> also love the feeling of rain falling on my head.  My curls start to frizz
> and the layers of So-Cal dust start to crack and fall off.  The old
Jessica
> peaks out and curls her toes.  I feel energized by the rain.  It's a new
> beginning - a bath for the world.

I like rain -- in the summer!

Yesterday it was raining, but it was also 12 degrees Celsius outside. If I'd
been outside for any length of  time, believe me, I would have had an
umbrella with me. Or at least something waterproof to put on my head, and an
umbrella is much less silly-looking than a plastic cap. The feeling of cold
rain on your scalp, especially when it's already cold outside, is not fun.

To me it's more a question of comfort than looks...
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>my supervisors.
>
>Nicole - not happy coz EEBO is the bets resource ever... theoretically!
>
> --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Early English Books
>Online is a subscription only service found typically at
>  
>
>>large libraries.  The books are out of copyright but there is a licensing
>>agreement involved in using the service (of course) which says the books are
>>not for republication but for research only.  If you are needing some book
>>for research purposes and can't get access to the service, you are welcome
>>to email me at Lisa@Thrednedlestrete.com and I'll do what I can to assist.
>>I wish the copyright laws were more clear because there is debate about
>>using licensing agreements to create essentially a copyright where none
>>indeed exists,
>>
See  _The Public Domain_ (pages 12/17-18), in the section "Is the 
Database Protected by Means Other than by Copyright?", where it says, 
"if you sign a licensing agreement [as to how you will use the 
database], you must be aware that the owner of a database can sue you if 
you violate the license."  You might win; you might lose. Personally, I 
don't think it would be honest to sign and agree to a set of 
restrictions with no intention of complying with them.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: Deredere Galbraith <triade@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 18th century dress question/ Pirates of the Caribbean
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Status: RO

Thanks for the tip.
I think I know which dress I am gonna make.
http://www.deredere.dds.nl/Pirates/Elisabeth/Elisabeth.html
The third picture(Janet Arnold page37 the firsth) but with the bodice of 
the fourt (Janet Arnold page37 the second)
A bit of a mixture..
Greetings,
        Deredere

N Kipar wrote:

> --- Deredere Galbraith <triade@kabelfoon.nl> wrote: > Hi,
>  
>
>>I am planning to make an Elisabeth Swan dress for a Fantasy Fair, since 
>>my husband wants to go as Jack Sparrow.
>>But I cant seem to determine what I want to make. I don't want to 
>>recreate a dress from the movie but rather a dress from that period.
>>But as in most costume movies the costumes are a mixture of differen 
>>styles. 18th century is not my period.
>>I want a dress so that people who have seen the movie would say "Hey 
>>that is Elisabeth!".
>>http://www.deredere.dds.nl/Pirates/POTC.html
>>    
>>
>
>Deredere, this is the best list for PotC costumes:
>
>http://groups.yahoo.com/group/potccostuming/
>
>The other two are pretty quiet. personally I think if you made something like
>the peach dress that would be most recognisable.
>
>Nicole
>
>=====
>Cap'n Cat of the good ship 'Harlot'
>http://www.kipar.org/society/author/pirates/
>
>Email: nicole@kipar.org
>URL: http://www.kipar.org
>
>________________________________________________________________________
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>Messenger http://mail.messenger.yahoo.co.uk
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>
>  
>

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Fran wrote:

> See  _The Public Domain_ (pages 12/17-18), in the section "Is the
> Database Protected by Means Other than by Copyright?", where it says,
> "if you sign a licensing agreement [as to how you will use the
> database], you must be aware that the owner of a database can sue you if
> you violate the license."  You might win; you might lose. Personally, I
> don't think it would be honest to sign and agree to a set of
> restrictions with no intention of complying with them.
>
 well, I won't be posting any of the pdf files I obtained on my site for
general downloading as much as I would like to see this info more widely
available but I will incorporate the information in the books I've obtained
into some form of searchable text, which does not violate the liscencing
agreement.  There are books on interpreting dreams, fortune telling by
moles, a book about there being a world on the moone, books denouncing
painted ladies, I could go on and on. It's like wandering into a Borders
Bookstore, but one that's 400 years old.  Anyway, one day I'll have a site
www.ManIntheMoone.com filled with this info, but not today.

Cheers,

Lisa Sinervo
www.thrednedlestrete.com




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Subject: [h-cost] Luther - the movie
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Just noticed there is a new movie out with Joseph Fiennes in the role of Martin Luther - filled with early 16th century costumes no doubt.

Might just go today!

Lisa Sinervo

www.lutherthemovie.com  
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In a message dated 10/4/2003 4:18:34 PM Eastern Standard Time, 
alice@wonderland.com writes:


> Ooooh these sound great.  Why doesn't Netflix have them yet, drat it?!?
> 
> 

Go to DVDpricesearch.com and type in the search engine "Saunders and French" 
and their DVDs of their TV show will come up.
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Yes, but I want to rent them, not buy them!


On Sunday, October 5, 2003, at 02:21 PM, AlbertCat@aol.com wrote:

> In a message dated 10/4/2003 4:18:34 PM Eastern Standard Time,
> alice@wonderland.com writes:
>
>
>> Ooooh these sound great.  Why doesn't Netflix have them yet, drat 
>> it?!?
>>
>>
>
> Go to DVDpricesearch.com and type in the search engine "Saunders and 
> French"
> and their DVDs of their TV show will come up.
> _______________________________________________
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In a message dated 10/5/2003 4:58:48 PM Eastern Standard Time, 
Lisa-list@threadneedlest.com writes:


> Might just go today!
> 

You'll be SO disappointed. A dreadful film! Some nice women's thing towards 
the end but, though they look good, I don't think they're way accurate. Still, 
I don't know. It's not my period.

Some nice men's things.

One thing that annoyed me, besides the horrible and uninspired music score, 
was the lack of servants and attendants. The Pope, Emperor, Kings and Lords are 
all alone and by themselves. Where IS everybody?
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Well, at least you've got their exact titles now  :-P
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From: "Wanda Pease" <wandap@hevanet.com>
To: "H-Costume" <h-costume@indra.com>,
   "Antir-Laurels" <antir-laurels@antir.sca.org>
Date: Sun, 5 Oct 2003 19:41:46 -0700
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Just received the three volume set of Progresses and Public Processions,
Queen Elizabeth, with 45 illustrations, by John Nichols, published 1788 from
Indiana University library.  The text says there are two volumes, but the
library may have rebound them into three.

They are in superb shape.  Now to go through and see what I want to copy!

I love Multnomah county library! Happy Dance!

Regina Romsey/Wanda Pease
Sit vis nobiscum.


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oh my God!!!  That is just amazing!  I've seen some great quotes with
Progresses listed as the reference.

Have fun!

Lisa Sinervo


----- Original Message -----
From: "Wanda Pease" <wandap@hevanet.com>
To: "H-Costume" <h-costume@indra.com>; "Antir-Laurels"
<antir-laurels@antir.sca.org>
Sent: Sunday, October 05, 2003 7:41 PM
Subject: [h-cost] ILL comes through Again!


> Just received the three volume set of Progresses and Public Processions,
> Queen Elizabeth, with 45 illustrations, by John Nichols, published 1788
from
> Indiana University library.  The text says there are two volumes, but the
> library may have rebound them into three.
>
> They are in superb shape.  Now to go through and see what I want to copy!
>
> I love Multnomah county library! Happy Dance!
>
> Regina Romsey/Wanda Pease
> Sit vis nobiscum.
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-bounces@indra.com  Sun Oct  5 23:28:31 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] ILL comes through Again!
Date: Sun, 5 Oct 2003 20:30:54 -0700
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Status: RO

Evidently a re-print has been made in the last 20 or so years.  I found it
on Amazon.com for $875.  Makes xeroxing costs look quite reasonable - as
long as it doesn't harm the binding of the book.  Deliberately harming books
is the 8th deadly sin!  Number 9 is deliberately keeping them from being
used by anyone else, as long as making it available doesn't violate sin #8
:-)

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lisa Sinervo
> Sent: Sunday, October 05, 2003 8:10 PM
> To: Historical Costume
> Subject: Re: [h-cost] ILL comes through Again!
>
>
> oh my God!!!  That is just amazing!  I've seen some great quotes with
> Progresses listed as the reference.
>
> Have fun!
>
> Lisa Sinervo
>
>
> ----- Original Message -----
> From: "Wanda Pease" <wandap@hevanet.com>
> To: "H-Costume" <h-costume@indra.com>; "Antir-Laurels"
> <antir-laurels@antir.sca.org>
> Sent: Sunday, October 05, 2003 7:41 PM
> Subject: [h-cost] ILL comes through Again!
>
>
> > Just received the three volume set of Progresses and Public Processions,
> > Queen Elizabeth, with 45 illustrations, by John Nichols, published 1788
> from
> > Indiana University library.  The text says there are two
> volumes, but the
> > library may have rebound them into three.
> >
> > They are in superb shape.  Now to go through and see what I
> want to copy!
> >
> > I love Multnomah county library! Happy Dance!
> >
> > Regina Romsey/Wanda Pease
> > Sit vis nobiscum.
> >
> >
> > _______________________________________________
> > 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: "Penny Ladnier" <penny@costumegallery.com>
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Date: Sun, 5 Oct 2003 23:49:15 -0400
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Subject: [h-cost] Looking for Robin
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Robin N. can you please write me off-list at penny@costumegallery.com

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


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From h-costume-bounces@indra.com  Mon Oct  6 00:37:15 2003
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From: "Brenna" <brenna@robewarriors.com>
To: <3mountains@yahoogroups.com>, <ICG-D@yahoogroups.com>,
   <GPACG-general@yahoogroups.com>, <h-costume@indra.com>,
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Subject: [h-cost] slightly OT - OryCon 25 reminder
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Status: RO

Please forgive the cross-posts but ....

This year is OryCon's 25th time around.  In recognition of that, the con is
putting together a commemorative CD of photos, program book  (and other
publication) covers, badge frame images, committee lists, GoH bios, etc.,
from the _entire_ 25 years.

To do this project fully, they would like your help - If you have photos
that you would like to have included on this disk whether of folks in the
hall, panels, silliness in Hospitality, masquerade, gaming, Dealers' Room,
whatever, please send them to John Lorentz at jlorentz@spiritone.com

Please send one image per message as he's on dialup.  The preferred scan
resolution is 200-300 dpi and please include as many details as possible -
subject name, costume "name", photographer's name, year, circumstance (Masq.
entry, Hospitality, whatever).

They're also looking for audio clips to convert to MP3s.

Hey, old-timers, how many do you recognise in this pic?  What's in your
closet?
http://www.spiritone.com/~jlorentz/committee.jpg

Items are needed asap.

www.orycon.org/orycon25

Happy trails.....

ttyl,
Brenna


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Date: Mon, 06 Oct 2003 09:11:43 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Subject: [h-cost] Victorian dress on "Antiques Roadshow"
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Any Victoriana fans in the UK see "Antiques Roadshow" last night?
Someone produced an 1860s bodice and skirt which a friend had passed on
to them  when she moved to a smaller house. It was in salmon pink and
silver - a bit insipid for my taste, but the condition of the garments
was amazingly good.

Kate Bunting
Library, University of Derby
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From: "Penny Ladnier" <penny@costumegallery.com>
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Kate,

Was Karen Augusta the appraiser?  She is a member of the Vintage email list
and is working for the show.  She has a beautiful website and merchandise at
http://www.antique-fashion.com/ .

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


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Subject: Re: [h-cost] Victorian dress on "Antiques Roadshow"
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Penny,
No, I think it was Hilary Kay - see
http://www.bbc.co.uk/antiques/expert_biogs/expert_biogs_k.shtml
 There must be different versions of the programme in the UK and US.

Kate Bunting
Library, University of Derby

>>> penny@costumegallery.com 10/06/03 09:34am >>>
Kate,

Was Karen Augusta the appraiser?  She is a member of the Vintage email
list
and is working for the show.  She has a beautiful website and
merchandise at
http://www.antique-fashion.com/ .

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


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Subject: Re: Re: [h-cost] EEBO
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Fran Grimble <fran@lavoltapress.com> responds a post from Lisa Sinervo 
<Lisa-list@threadneedlest.com>:

>Nicole - not happy coz EEBO is the bets resource ever... theoretically!

>>Early English Books Online is a subscription only service found typically 
>>at large libraries. The books are out of copyright but there is a 
>>licensing agreement involved in using the service (of course) which says 
>>the books are not for republication but for research only...
>>...I wish the copyright laws were more clear because there is debate 
>>about using licensing agreements to create essentially a copyright where 
>>none indeed exists,

There are two types of copyrights in this case, IIRC:  there is the 
aggregation/compilation copyright, which is the copyright that exists for 
that particular edition of each original book (as they have been aggregated 
into the database) and the value-added copyright for that which is an 
intrinsic part of the database itself (indexing, citations, abstracts, 
hypertexting, etc.). If you are taking the book from the database, it can 
be argued in theory that you are using the _edited_ version of the book, 
and the editing _is_ added-value, establishing copyright. However, if you 
could go to the _original_ edition of the book, you should in theory be 
able to use it without copyright infringement.

>See _The Public Domain_ (pages 12/17-18), in the section "Is the Database 
>Protected by Means Other than by Copyright?", where it says, "if you sign 
>a licensing agreement [as to how you will use the database], you must be 
>aware that the owner of a database can sue you if you violate the 
>license." You might win; you might lose.

Remember also that the database itself is protected by copyright even if 
the included items are not.

>  Personally, I don't think it would be honest to sign and agree to a set 
> of restrictions with no intention of complying with them.

Agreed; yet I think what Lisa is arguing is whether or not it is honest to 
put restrictions on items which would otherwise be in the public domain.

We've been 'round this bend before, ladies. The bottom line is that it 
costs money to provide a database service and keep it running, and this 
money has to come from grants, subscriptions, and/or transactional fees. 
This, unfortunately, has the adverse effect of keeping needed information 
from people who cannot afford the monetary costs of access.

Nicole, is it possible that you and your supervisor can get some sort of 
grant to get access to EEBO? If not a government grant, perhaps a directed 
gift from a wealthy alumnus? Or maybe talking with the folks there can get 
you something at a reduced rate for reduced access, or a special academic 
rate, or something like that. (Or have you done all that already, and any 
way you look at it, a price other than "free" means that more important 
programs would be cut?)


Brenda
webwarren@earthlink.net


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: Re: [h-cost] EEBO
To: Historical Costume <h-costume@indra.com>
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 --- Brenda <webwarren@earthlink.net> wrote: > 

> Nicole, is it possible that you and your supervisor can get some sort of 
> grant to get access to EEBO? If not a government grant, perhaps a directed 
> gift from a wealthy alumnus? Or maybe talking with the folks there can get 
> you something at a reduced rate for reduced access, or a special academic 
> rate, or something like that. (Or have you done all that already, and any 
> way you look at it, a price other than "free" means that more important 
> programs would be cut?)

The three thousand pounds (!!!) IS the academic rate for our small History
department. We cannot afford it, we don't have the money, there is no one to
give us any, so the bottom line is, we cannot access it anymore. I just think
that this amount of money is exorbitant! They should stagger it according to
departmental size. It's just unfair. *sulks*

My supervisor has already tried just about anything, but nevermind.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Gustav III' suit.
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Hello
Finally, after many many struggles with myself, discharging one design after
another, i have come to agreement with myself on this design for the new
suit i will make.
http://www.my-drewscostumes.dk/chenillesuit.htm

I think you would like to see.
PS the small silver spangels, are fake spangels. I am waiting to get real
ones soon.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Oh, my, that will be quite stunning!
I've never worked with chenille thread--do you couch it down?
--sue, admiring as always

Bjarne og Leif Drews wrote:
> 
> Hello
> Finally, after many many struggles with myself, discharging one design after
> another, i have come to agreement with myself on this design for the new
> suit i will make.
> http://www.my-drewscostumes.dk/chenillesuit.htm
> 
> I think you would like to see.
> PS the small silver spangels, are fake spangels. I am waiting to get real
> ones soon.
> 
> 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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>
>> See _The Public Domain_ (pages 12/17-18), in the section "Is the 
>> Database Protected by Means Other than by Copyright?", where it says, 
>> "if you sign a licensing agreement [as to how you will use the 
>> database], you must be aware that the owner of a database can sue you 
>> if you violate the license." You might win; you might lose.
>
>
> Remember also that the database itself is protected by copyright even 
> if the included items are not. 


> Agreed; yet I think what Lisa is arguing is whether or not it is 
> honest to put restrictions on items which would otherwise be in the 
> public domain. 


What I am getting at is that there are means of restricting access that 
are not related to copyright, and which are nonetheless legal.  They are 
not a dishonest way to "fake" copyright.  A licensing agreement is one.  
With a license you agree to certain terms and you are bound by that 
agreement.  This is perfectly legal.  It is similar to a contract, 
whereby people enter into all kinds of agreements that are not legally 
inherent, but which, if not kept, are potentially enforceable by a 
lawsuit. (A roofing contractor doesn't inherently legally owe it to you 
to repair your roof. But they do if you and they sign an agreeement, and 
you've fulfilled your part. And you can sue the contractor for not doing 
the work agreed on.) 

After all, when you sign a license agreement you enter into it voluntarily.

> We've been 'round this bend before, ladies. The bottom line is that it 
> costs money to provide a database service and keep it running, and 
> this money has to come from grants, subscriptions, and/or 
> transactional fees. This, unfortunately, has the adverse effect of 
> keeping needed information from people who cannot afford the monetary 
> costs of access. 

If the database owners can't get paid for their work, the material will, 
eventually, not be available for anyone.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From h-costume-bounces@indra.com  Mon Oct  6 13:53:51 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
References: <5.1.0.14.0.20031006082248.0429fa70@mail.earthlink.net>
Subject: Re: Re: [h-cost] EEBO
Date: Mon, 6 Oct 2003 13:55:29 -0400
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Jumping in at the last moment... sorry, I had a stomach virus and hadn't
been keeping up.

As for the copyright Brenda is correct.  The site and publications are
copyrighted even through the books themselves are in the public domain.
Signing a licensing agreement to view the EEBO does not give anyone the
right to take the publications from their site and re-produce it.  Now if
you owned the original publication or if you have an agreement with an owner
to reproduce the material, then go for it.  But by going to a library or
museum and re-publishing works owned by them without obtaining permission
can get you into legal trouble.  EEBO is a library service.

Another example of universities paying to view was when I in college... they
had several online services they subscribed to for students to view.  I had
to hand over my student ID when I accessed these programs.  Someone from the
general public could not walk into the library and view.  The service I used
frequently used was for viewing public businesses annual reports.  I used it
often and learned a great deal from it.  It was free to the students in a
matter of speaking but the service was included in tuition.  The students
didn't have a choice or asked, all students paid for the service whether
they used it or not.  I could make copies of the report but had to hold to
the user's agreement and not republish the work.

Personally, I have thought about going to universities and public schools
then charging them for access to my library.   And it is still not out of
long term plans.  And the price would be greatly higher for schools than it
would for an individual subscription.  Nicole, one way you might get in is
to ask if EEBO are willing to hold individual subscriptions.  I can
understand if they say no.... the subscription fees from a university
provides EEBO with more $$$ than small $$$ with individual subscriptions.
And a lot less paperwork.  Personally, I would hold subscriptions for
both... but that is me.

I can understand from a marketing aspect why EEBO choose to make
universities as their target market.  National Geographics has been doing
this with the public school systems for at least the past five years.  The
catch is only certain students can access their material. In this case, it
was the certain assessors were the gifted students but regular students
could not access. This is one thing that has been holding me back with my
library.  I would like everyone not just certain students to be able to
access my library.

My advice is if you or your child are considering majoring in a certain
aspect of English history, consider one of the universities that are
accessing the program.  Looking at it from a university viewpoint, it is a
selling strategy to encourage students to enroll.

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


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From h-costume-bounces@indra.com  Mon Oct  6 14:14:31 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Gustav III' suit.
Date: Mon, 6 Oct 2003 11:05:53 -0700
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Did you already post an overall design of what the suit looks like-did I
miss it.  If not, I'd sure like to see what it looks like...
Sg


P.S.  It goes without saying I suppose, but your work is stunning...:)

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From h-costume-bounces@indra.com  Mon Oct  6 14:43:29 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Mon, 6 Oct 2003 20:33:30 +0200
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Subject: [h-cost] gustav III. suit
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Saragrace.
I have not made an overall design of it yeat. Only the repeat of the
embroidery pattern.
I dont think i can make a drawing of the entire suit with the embroidery on.
You must imagine how it will look. The fronts of the jacket, the large cuffs
and the pocket flaps.
This time i want to embroider the whole area arround the pocket flaps two,
like the real ones
And the back vents in the skirts.
But i will not make a band of embroidery along the sleave, as the real suit
has, i dont like that. It has a center back panel also embroidered, but
neither that i want.
It is all in all going to be very much like the first suit i made, only the
area in the fronts arround the pocket flaps will be embroidered.
And i must make a muck up of the entire suit two. Even that i did meassure
and find that Gustav III and i share the same size, i must make a muck up
first.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-bounces@indra.com  Mon Oct  6 14:52:42 2003
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Subject: [h-cost] Chenille thread
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Hi Sue.
You asked me how chenille is embroidered.
Well according to "The Art of the Embroiderer" it can be made in two ways.
It can be sewed ordinary, where you have to split up the chenille and catch
the end trough the eye. This requires that you only use small ammounts of
thread, because it will unwind itself.
And it could be underside couched. This is what i will be doing, underside
couching. Wich means that i pull the thick chenille thread trough the
fabric, leave the one end on the underside, take another thread (much
thinner) and sew it ( the chenille) on the fabric surface, going along the
pattern and fill out the spaces with chenille thread. The next end is
catched down under the fabric and secured on the back side.
Does this make any sense?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Deredere.
That Corset you are going to make, i warmly recomend.
If you are going to make it fully boned, as it is, you will find that it
gets sooo beautifull.
I made this corset many years ago, and i used it for the renaissance dansers
i made costumes for. This was because i did not have any alternatives, but
it worked very nice. It was the late renaissance with wheel farthingales.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: RE: [h-cost] gustav III. suit
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Okay, we will just have to wait to see it...:)  Reading about it is almost
as good.

Sg



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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Gustav III' suit.
Date: Mon, 6 Oct 2003 23:00:17 +0200
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Hi Saragrace,
There still are pictures on the net from an exhibition there was in Sweden
with the suit.
This picture is the whole suit:

http://www.lsh.se/livrustkammaren/press/Klarbild/GIII/T008299_hel.jpg

And this is a closeup of the large cuffs:
http://www.lsh.se/livrustkammaren/press/Klarbild/GIII/T008194_detalj.jpg


But mind you, they are very high solution pictures, so they take some time
to download.
I wondered if i could have those pictures linked to my page?
Should i ask of permission for this?
It is pictures for the press, when they should write about the exhibition.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Monday, October 06, 2003 8:05 PM
Subject: RE: [h-cost] Gustav III' suit.


> Did you already post an overall design of what the suit looks like-did I
> miss it.  If not, I'd sure like to see what it looks like...
> Sg
>
>
> P.S.  It goes without saying I suppose, but your work is stunning...:)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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I live in New York city and am utterly bewildered by the garment district.  What are good stores that sell a large range of colors of good quality silk?
Alexia
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Absolutely, it makes sense, Bjarne.  Underside couching is a technique
common to working with some gold threads--it gives a surprisingly
suppleness to the embroidered area, because all the stitch-points (for
want of a better word) act as little hinges for the otherwise-stiff gold
thread. From what I recall, it's "the" main stitch used for the metallic
parts of opus anglicanum.
Do you use a matching (silk?) thread to stitch your chenille thread
with?
--sue

Bjarne og Leif Drews wrote:
> 
> Hi Sue.
> You asked me how chenille is embroidered.
> Well according to "The Art of the Embroiderer" it can be made in two ways.
> It can be sewed ordinary, where you have to split up the chenille and catch
> the end trough the eye. This requires that you only use small ammounts of
> thread, because it will unwind itself.
> And it could be underside couched. This is what i will be doing, underside
> couching. Wich means that i pull the thick chenille thread trough the
> fabric, leave the one end on the underside, take another thread (much
> thinner) and sew it ( the chenille) on the fabric surface, going along the
> pattern and fill out the spaces with chenille thread. The next end is
> catched down under the fabric and secured on the back side.
> Does this make any sense?
> 
> Bjarne
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
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Subject: Re: [h-cost] Chenille thread
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Hi Sue,
It seems to be only us tonight, well it is quite late here :-)
Yes i use a very thin silk floss to couch the silk chenille.
And in a matching color, off cause.
You cant se the stitches with the natural eye.
This is the reason it gives the impression, that it is made of velvet.
Apropos this Chenille silk. I often wondered why any renaissance people,
dont use it. They could make a beautifull bodice with this. For instance
this famous portrait with the black and white patterned bodice.
You could make this with a black chenille silk on white satin. It would make
the same impression, as it was wowen velvet /satin like the real renaissance
fabric.
It would require a lot of chenille thread, though, it costs 4 dollars for 2
yards of it.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 07, 2003 12:08 AM
Subject: Re: [h-cost] Chenille thread


> Absolutely, it makes sense, Bjarne.  Underside couching is a technique
> common to working with some gold threads--it gives a surprisingly
> suppleness to the embroidered area, because all the stitch-points (for
> want of a better word) act as little hinges for the otherwise-stiff gold
> thread. From what I recall, it's "the" main stitch used for the metallic
> parts of opus anglicanum.
> Do you use a matching (silk?) thread to stitch your chenille thread
> with?
> --sue
>
> Bjarne og Leif Drews wrote:
> >
> > Hi Sue.
> > You asked me how chenille is embroidered.
> > Well according to "The Art of the Embroiderer" it can be made in two
ways.
> > It can be sewed ordinary, where you have to split up the chenille and
catch
> > the end trough the eye. This requires that you only use small ammounts
of
> > thread, because it will unwind itself.
> > And it could be underside couched. This is what i will be doing,
underside
> > couching. Wich means that i pull the thick chenille thread trough the
> > fabric, leave the one end on the underside, take another thread (much
> > thinner) and sew it ( the chenille) on the fabric surface, going along
the
> > pattern and fill out the spaces with chenille thread. The next end is
> > catched down under the fabric and secured on the back side.
> > Does this make any sense?
> >
> > 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
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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I think so, but then, it's only late afternoon (5 pm) where I am. 
Normally, I don't get to read my emails unless it's first thing in the
morning, or in the evening, but I happen to be home from work today.
I would imagine that using chenille would indeed be cost-prohibitive
(that's a LOT of money! for only a couple of yards of chenille.)  And it
would be a lot of work, especially since not all costumers also like to
do embroidery.
Me? <g> I'd rather win the lottery, and pay someone 1000's of dollars to
hand weave the stuff for me, and I could embroider something else,
entirely!
--sue, off to have a cup of tea before I make dinner....

Bjarne og Leif Drews wrote:
> 
> Hi Sue,
> It seems to be only us tonight, well it is quite late here :-)
> Yes i use a very thin silk floss to couch the silk chenille.
> And in a matching color, off cause.
> You cant se the stitches with the natural eye.
> This is the reason it gives the impression, that it is made of velvet.
> Apropos this Chenille silk. I often wondered why any renaissance people,
> dont use it. They could make a beautifull bodice with this. For instance
> this famous portrait with the black and white patterned bodice.
> You could make this with a black chenille silk on white satin. It would make
> the same impression, as it was wowen velvet /satin like the real renaissance
> fabric.
> It would require a lot of chenille thread, though, it costs 4 dollars for 2
> yards of it.
> 
> Bjarne
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Tuesday, October 07, 2003 12:08 AM
> Subject: Re: [h-cost] Chenille thread
> 
> > Absolutely, it makes sense, Bjarne.  Underside couching is a technique
> > common to working with some gold threads--it gives a surprisingly
> > suppleness to the embroidered area, because all the stitch-points (for
> > want of a better word) act as little hinges for the otherwise-stiff gold
> > thread. From what I recall, it's "the" main stitch used for the metallic
> > parts of opus anglicanum.
> > Do you use a matching (silk?) thread to stitch your chenille thread
> > with?
> > --sue
> >
> > Bjarne og Leif Drews wrote:
> > >
> > > Hi Sue.
> > > You asked me how chenille is embroidered.
> > > Well according to "The Art of the Embroiderer" it can be made in two
> ways.
> > > It can be sewed ordinary, where you have to split up the chenille and
> catch
> > > the end trough the eye. This requires that you only use small ammounts
> of
> > > thread, because it will unwind itself.
> > > And it could be underside couched. This is what i will be doing,
> underside
> > > couching. Wich means that i pull the thick chenille thread trough the
> > > fabric, leave the one end on the underside, take another thread (much
> > > thinner) and sew it ( the chenille) on the fabric surface, going along
> the
> > > pattern and fill out the spaces with chenille thread. The next end is
> > > catched down under the fabric and secured on the back side.
> > > Does this make any sense?
> > >
> > > Bjarne
> > >
> > > Leif og Bjarne Drews
> > > www.my-drewscostumes.dk
> > >
> > > http://home0.inet.tele.dk/drewscph/
> > >
> > > _______________________________________________
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> > > h-costume@mail.indra.com
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> >
> 
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From h-costume-bounces@indra.com  Mon Oct  6 20:28:21 2003
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Date: Mon, 6 Oct 2003 17:27:06 -0700 (PDT)
From: Jen Small <jenrsmall@yahoo.com>
Subject: Re: [h-cost] Fabric in NYC
To: Historical Costume <h-costume@indra.com>
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When I went to NYC I just wandered up and down 39th and 40th street, between 5th ave and I think 6th ave (could be 4th ave) and went into each little shop.  Lots of great silk dupioni colors and wools and other things.  I didn't see a lot of significant deals -- the prices were comparable to what I see in Chicago.  However, I did get a great price on some lovely linen with a woven texture --- it was $5/yd.

"Alexia S. Jacobs" <asj2001@columbia.edu> wrote:I live in New York city and am utterly bewildered by the garment district. What are good stores that sell a large range of colors of good quality silk?
Alexia
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Date: Mon, 06 Oct 2003 19:33:24 -0500
From: Joe Robertson <joedr@charter.net>
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   Are there any sources that provides tartan material in patterns and
colours that would be correct for period? Since "modern" colours are
intense and deep, I've checked many of the modern setts in "ancient" or
old colours designed to somewhat approximate organic dyes of the past.
Many of these setts are very, very complex. I've yet to find any imagery
of tartan from the old days, though I know that it existed. 
   Perhaps if some of today's setts would do, does anyone have an idea 
which of them would be fairly representative of weavers' capabilities in
the 16th century? 
Slainte,
Joe
---
Joe RObertson, Psy.D.
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Gustav III' suit.
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What exquisite goldwork! Sigh! that's the quality  work I would love to do one day!
Thanks so much for sharing those images , Bjarne--
cheers and best--
Albra

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
Hi Saragrace,
There still are pictures on the net from an exhibition there was in Sweden
with the suit.
This picture is the whole suit:

http://www.lsh.se/livrustkammaren/press/Klarbild/GIII/T008299_hel.jpg

And this is a closeup of the large cuffs:
http://www.lsh.se/livrustkammaren/press/Klarbild/GIII/T008194_detalj.jpg


But mind you, they are very high solution pictures, so they take some time
to download.
I wondered if i could have those pictures linked to my page?
Should i ask of permission for this?
It is pictures for the press, when they should write about the exhibition.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Saragrace T. Knauf" 
To: "'Historical Costume'" 
Sent: Monday, October 06, 2003 8:05 PM
Subject: RE: [h-cost] Gustav III' suit.


> Did you already post an overall design of what the suit looks like-did I
> miss it. If not, I'd sure like to see what it looks like...
> Sg
>
>
> P.S. It goes without saying I suppose, but your work is stunning...:)
>
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I live in New York city and am utterly bewildered by the garment district.
What are good stores that sell a large range of colors of good quality silk?
Alexia


Dear Alexia,

I can recommend two shops on 40th Street between 8th and 7th Avenues.

Start at Paron on the south side of 40th Street, closer to 7th Avenue.
There are two Paron shops, and one of them is strictly discounted fabrics --
many out-dated designer fabrics.  They are sold at 50% off a reasonable
retail price.  The other Paron sells full-price, but their prices are
decent.  I'd check these first, to see if they have what you need.

The other shop is B&J on the north side of 40th Street, closer to 8th
Avenue.  B& J sells premium fabrics.  (I have a craving for plaid silk
taffeta, and they always have a nice selection of this high-cost item.
About $24/yard.)  The terrific thing about this shop is the range of
offerings.  They sell lots of beautiful stuff -- like, for example, many
Liberty of London cotton prints.

Maryanne,
in exile from Manhattan

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I live in New York city and am utterly bewildered by the garment district.
What are good stores that sell a large range of colors of good quality silk?
Alexia


Dear Alexia,

I can recommend two shops on 40th Street between 8th and 7th Avenues.

Start at Paron on the south side of 40th Street, closer to 7th Avenue.
There are two Paron shops, and one of them is strictly discounted fabrics --
many out-dated designer fabrics.  They are sold at 50% off a reasonable
retail price.  The other Paron sells full-price, but their prices are
decent.  I'd check these first, to see if they have what you need.

The other shop is B&J on the north side of 40th Street, closer to 8th
Avenue.  B& J sells premium fabrics.  (I have a craving for plaid silk
taffeta, and they always have a nice selection of this high-cost item.
About $24/yard.)  The terrific thing about this shop is the range of
offerings.  They sell lots of beautiful stuff -- like, for example, many
Liberty of London cotton prints.

Maryanne,
in exile from Manhattan

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Subject: [h-cost] Costume in NYC
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I am looking for less than a yard of silk for some 18th century shoes, so I am willing to spend a good amount for the nicest fabric I can find.  Thank you for the suggestions
Alexia
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From h-costume-bounces@indra.com  Mon Oct  6 21:36:05 2003
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Date: Mon, 06 Oct 2003 19:36:55 -0600
From: Sue Clemenger <mooncat@in-tch.com>
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Subject: [h-cost] Cool book for 19th c embroidery
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A couple of weeks ago, I was looking around in my favorite local
bookstore, and came upon a "Workbook of Embroidery Design" that I just
had to get, even though it's not a time period I spend much time with.
As the intro. states,
"The designs in this book are taken from two notebooks, dated 1858,
which were found in an old trunk in an attic.  The notebooks belonged to
Virginia Baskervill, who lived at Waverly Honor plantation...."
The book itself comprises over 200 pages of an amazing assortment of
designs (floral, initials, overall designs, "coronation cord"
embroidery, and lots and lots of other stuff) all intended for various
types of whitework and cutwork.  Plus a section in back giving
instructions on the basic stitches used.  A lot of it is distinctly
intended for use on clothing, too.  If I ever have the chance to do some
ante-bellum recreation, I'll know exactly what to use as a source for
embroidering my underthings! <g>
--Sue, doing a little happy dance....
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] EEBO
Date: Mon, 6 Oct 2003 22:48:09 -0400
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I just came across this excellent explanation of copyrights and trademark
infringement, and licensing.  I hope this helps some of you understand.
http://www.cafepress.com/cp/info/help/law.aspx

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


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Date: Mon, 6 Oct 2003 20:12:29 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Chenille thread
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At 8:42 PM +0200 10/6/03, Bjarne Drews wrote:
>And it could be underside couched. This is what i will be doing, underside
>couching. Wich means that i pull the thick chenille thread trough the
>fabric, leave the one end on the underside, take another thread (much
>thinner) and sew it ( the chenille) on the fabric surface, going along the
>pattern and fill out the spaces with chenille thread. The next end is
>catched down under the fabric and secured on the back side.
>Does this make any sense?

Hmm. This sounds closer to what we call "surface couching" in 
English, because only the beginning and end of the chenille thread go 
through the fabric, am I right?

Usually in English, "underside couching" refers to something a little 
different -- the thin thread that is doing the couching stitches 
comes up from under the fabric, over the big thread, and then goes 
back down into the same hole in the fabric that it came out of. It is 
then pulled tight, so a little loop of the big thread is pulled down 
under the fabric. On the top, you don't see the couching thread at 
all. I think this would be hard to do with chenille thread, because 
it would make a bigger hole in the fabric.

Underside couching is usually used for thread that is thin, but very 
stiff, like gold thread. It keeps almost all the expensive gold 
thread on the top of the fabric, and the only parts that are pulled 
through the fabric are the small loops. But as Sue said, fabric 
embroidered this way is much more flexible than if the gold was 
surface-couched.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: "Mildred" <mildred@thebartholomews.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Costume in NYC
Date: Mon, 6 Oct 2003 20:59:11 -0700
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Thanks to all who replied! Yes, I am looking for business attire (as well as
other things).

Luanne

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Date: Mon, 06 Oct 2003 21:01:58 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: RE: [h-cost] ILL comes through Again!
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I got a copy of the reprint volumes for about $100 just two years ago.  I 
got them via ABEbooks.
Joan Jurancich

At 08:30 PM 10/5/2003 -0700, you wrote:
>Evidently a re-print has been made in the last 20 or so years.  I found it
>on Amazon.com for $875.  Makes xeroxing costs look quite reasonable - as
>long as it doesn't harm the binding of the book.  Deliberately harming books
>is the 8th deadly sin!  Number 9 is deliberately keeping them from being
>used by anyone else, as long as making it available doesn't violate sin #8
>:-)
>
>Regina
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Lisa Sinervo
> > Sent: Sunday, October 05, 2003 8:10 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] ILL comes through Again!
> >
> >
> > oh my God!!!  That is just amazing!  I've seen some great quotes with
> > Progresses listed as the reference.
> >
> > Have fun!
> >
> > Lisa Sinervo
> >
> >
> > ----- Original Message -----
> > From: "Wanda Pease" <wandap@hevanet.com>
> > To: "H-Costume" <h-costume@indra.com>; "Antir-Laurels"
> > <antir-laurels@antir.sca.org>
> > Sent: Sunday, October 05, 2003 7:41 PM
> > Subject: [h-cost] ILL comes through Again!
> >
> >
> > > Just received the three volume set of Progresses and Public Processions,
> > > Queen Elizabeth, with 45 illustrations, by John Nichols, published 1788
> > from
> > > Indiana University library.  The text says there are two
> > volumes, but the
> > > library may have rebound them into three.
> > >
> > > They are in superb shape.  Now to go through and see what I
> > want to copy!
> > >
> > > I love Multnomah county library! Happy Dance!
> > >
> > > Regina Romsey/Wanda Pease
> > > Sit vis nobiscum.
> > >
> > >
> > > _______________________________________________
> > > 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: "Mildred" <mildred@thebartholomews.com>
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I work with a reenactment company that wants to take the edge off new clothes.
We don't want to look like gutter trash, we just don't want our brand-new
clothing to look brand new. Can anyone with a theatre background offer some
advice or point me in the right direction?

Many thanks,
Luanne Bartholomew

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From h-costume-bounces@indra.com  Tue Oct  7 00:42:06 2003
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Subject: Re: [h-cost] Old tartan
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If you can find a copy of John Telfer Dunbar's History of Highland Dress 
(Batsford, London, 1972), you will see color prints of pre-1745 tartan. There is a 
John Telfer Dunbar Collection that contains these tartans, but I don't know 
where the collection is housed.

The tartans are very bright and colorful. If you can't find the book, let me 
know and I will scan the pictures of the tartans. 

For historical purposes, I would choose an irregular sett, and try to pick an 
unrecognizable  pattern if you can ("Clan McRemnant"). Try to avoid obvious 
ones like Royal Stewart, Black Watch, or "Loud McCloud."

Kathleen Norvell
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In a message dated 10/7/2003 12:09:46 AM Eastern Standard Time, 
mildred@thebartholomews.com writes:


> We don't want to look like gutter trash, we just don't want our brand-new
> clothing to look brand new.

Mere washing always helps. And of course white and bright colors glow under 
stage lights so must be toned down. Overdying in very pale grey or brown can do 
the trick. Things that look dingy up close will look just not so new on 
stage. And a little wilting and crumpling of crisp starched things takes them down 
a notch.

One way we made an old suit jacket look new was to replace the crushed 
"kicker" felt padding in the shoulder seams. It seems to reverse the effect would be 
to smash it down, with a spritzer bottle of water and a hot iron.
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Subject: Re: [h-cost] Distressing Fabrics?
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Luanne wrote:

> I work with a reenactment company that wants to take the edge off new
clothes.
> We don't want to look like gutter trash, we just don't want our brand-new
> clothing to look brand new. Can anyone with a theatre background offer
some
> advice or point me in the right direction?

Just how used do you want the clothes to look?  For general breaking down,
wash
the items several times; this will take care of the sizing and fade them a
bit.  Then use
fine sandpaper on wear points- elbows, knees, all hems, and any other places
that
might receive heavy wear (this can even include the butt...)  Go slowly, so
you don't
overdue it.  Also, just wear them around the house; do this often enough
before they
go out in public, and they'll get a lived-in look.  If you need to go
further, just ask- the
advanced course includes stuffing them with sandbags and dragging them
behind a car
down Sedgwick Ave on a Saturday morning, and then, there's the interesting
stains.
Good luck,
        -Helen/Aidan


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Date: Tue, 07 Oct 2003 01:48:43 -0400
From: Ron Carnegie <r.carnegie@verizon.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Distressing Fabrics?
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mildred> I work with a reenactment company that wants to take the edge off new clothes.
mildred> We don't want to look like gutter trash, we just don't want our brand-new
mildred> clothing to look brand new. Can anyone with a theatre background offer some
mildred> advice or point me in the right direction?
mildred> 
mildred> Many thanks,
mildred> Luanne Bartholomew
mildred> 
mildred> _______________________________________________

   I  know this isn't what you want to hear, but you have entered into
one of my peeve areas (sorry in advance).

    Don't artificially distress your clothing.  Sure the theatre does it,
and movies do it, but their needs are different and they can get away
with things that the reenactor can not.  The absolute best way to
distress reenactor clothing is to use it and care for it.  Most
artificial techniques will look artificial and many will cause undue
stress to your clothing and shorten its life span.  Use your clothes
work in your cloths, do period things in your clothes and care for them
in a period fashion.  They will age soon enough and will look real and
lived in.  In the mean time remember that all through history at various
times new clothing could be found.  If that still makes you
uncomfortable to wear the stuff at reenacments looking new, than do the
things I mentioned at home.
-- 
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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At 12:40 AM 10/7/2003 -0400, you wrote:
>Try to avoid obvious
>ones like Royal Stewart, Black Watch, or "Loud McCloud."
>
>Kathleen Norvell


Bwahahahaha... I have that "Loud MacLeod" material, that my hubby wanted 
trews made of, just to be obnoxious and quite visible. There is an old 
faire friend who enjoyed wearing his as a full blown great kilt, and he had 
the swagger to pull it off.

But I do agree with Kathleen, if you are going for historical, stay away 
from the modern obvious tartan patterns. But you would be surprised just 
how colorful vegetable and lichen dyed wools can be, so just going with a 
"muted" tartan is not necessarily the best thing.

Oh, and one other to add to the list of obvious, stay away from Buchanan. 
Goodness that one is colorful, almost gawdily so, and I can recognize it in 
a heartbeat. But then I can recognize a lot of the common ones. So look for 
an uncommon tartan set, like in browns and greens with some yellows or 
something to match the heathers.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: Re: [h-cost] Distressing Fabrics?
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Mildred wrote:

> I work with a reenactment company that wants to take the edge off new clothes.
> We don't want to look like gutter trash, we just don't want our brand-new
> clothing to look brand new. Can anyone with a theatre background offer some
> advice or point me in the right direction?

This is going to sound bizarre, but... leaving them outside for a week 
in the sun, rain , and dust is a pretty good start. Then give everything 
a good wash. That will take the crisp "new" look right out of everything.

I'm not keen on sandpapering or tearing holes in re-enactment clothing, 
but I have been known to add cat hair, mud or tea stains, and a little 
dusting of flour to give clothes a head start on the 'lived in' look.



Dawn



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Subject: Re: [h-cost] Distressing Fabrics?
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> I work with a reenactment company that wants to take the edge off new clothes.
> We don't want to look like gutter trash, we just don't want our brand-new
> clothing to look brand new. Can anyone with a theatre background offer some
> advice or point me in the right direction?
> 
> Many thanks,
> Luanne Bartholomew

Depending on the fabrics, washing and then running through the dryer with
a fistfull of pennies will beat up fabrics but not destroy them.  Other
options include drabbing the colors with a tiny bit of greyish dye, stains
from shoe polish (be very, VERY sparing if you use this method), and 
abrading the fabric gently.  Or not so gently, as we used a cheese grater
on one set of work clothes to make them look suitably worn.

Let's see, I've also used watercolor paints in earth tones carefully diluted
and daubed onto non-washable items to make them look aged.  The nice thing
about this method is if you think your staining is too dark, you just add
more water or brush more water on top.  Artists' chalks and charcoal sticks
also work for that (don't use oil pastels unless you never *ever* want it
to come out).

Most of the methods that will fade fabrics will also damage them, so be 
careful.  Washing items multiple times with Synthrapol will help take the
"edge" off new dye.

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: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] Chenille thread
Date: Tue, 7 Oct 2003 10:47:25 +0200
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Dear Chris.
Thanks for inlighting me with this.
Yes you are right, i dont pull the chenille thread that tight, it is only
sewed on the surface.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Chris Laning" <claning@igc.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 07, 2003 5:12 AM
Subject: Re: [h-cost] Chenille thread


> At 8:42 PM +0200 10/6/03, Bjarne Drews wrote:
> >And it could be underside couched. This is what i will be doing,
underside
> >couching. Wich means that i pull the thick chenille thread trough the
> >fabric, leave the one end on the underside, take another thread (much
> >thinner) and sew it ( the chenille) on the fabric surface, going along
the
> >pattern and fill out the spaces with chenille thread. The next end is
> >catched down under the fabric and secured on the back side.
> >Does this make any sense?
>
> Hmm. This sounds closer to what we call "surface couching" in
> English, because only the beginning and end of the chenille thread go
> through the fabric, am I right?
>
> Usually in English, "underside couching" refers to something a little
> different -- the thin thread that is doing the couching stitches
> comes up from under the fabric, over the big thread, and then goes
> back down into the same hole in the fabric that it came out of. It is
> then pulled tight, so a little loop of the big thread is pulled down
> under the fabric. On the top, you don't see the couching thread at
> all. I think this would be hard to do with chenille thread, because
> it would make a bigger hole in the fabric.
>
> Underside couching is usually used for thread that is thin, but very
> stiff, like gold thread. It keeps almost all the expensive gold
> thread on the top of the fabric, and the only parts that are pulled
> through the fabric are the small loops. But as Sue said, fabric
> embroidered this way is much more flexible than if the gold was
> surface-couched.
> --
> _________________________________________________________
> O    Chris Laning
> |     <claning@igc.org>
> +    Davis, California
> _________________________________________________________
> _______________________________________________
> h-costume mailing list
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Old tartan
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Greetings Joe...   or Ceid Mille Failche...

I take it you are looking for 16th century tartan patterns... well...I hate 
to tell you but tartan as we know it today is not a 16th century 
critter.  The registered tartan setts that denote a family by a specific 
weave of colours is a Victorian thang... sorry.

Now that's not to say that specific areas, or families didn't have patterns 
that were specific to them,  made from local dyes etc.
As I know samples of fabric were recovered from Culloden,  which occurred 
in 1746.   None of them are woven in the setts prescribed by today's 
tartan,  and many of them are simply checks, or solid fabrics.

I've also had the good fortune to work on a recovery of weaving patterns 
from the highlands about 1800.  This collection of weavers books contained 
hundreds of patterns - mostly twills for 4 - 12 harnesses.  Not a tartan 
among them.  But this is during the Disarming Act following the '45 so take 
it with a grain of salt.

http://www.users.zetnet.co.uk/tartan/history.htm  gives a good overall 
history of the modern tartan...

As for weaving any of todays setts...  I truely believe that a 16th centry 
weaver could execute any of them easily.   After all half the work of a 
tartan is in the warping.   And the fabric itself is a simple twill.

So for 1600 and earlier you're looking at solid colours, or checked 
patterns,  or perhaps striped on the vertical and the horizontal,  which 
would give the look of a tartan.  Good luck.

Bridgette


>    Are there any sources that provides tartan material in patterns and
>colours that would be correct for period? Since "modern" colours are
>intense and deep, I've checked many of the modern setts in "ancient" or
>old colours designed to somewhat approximate organic dyes of the past.
>Many of these setts are very, very complex. I've yet to find any imagery
>of tartan from the old days, though I know that it existed.
>    Perhaps if some of today's setts would do, does anyone have an idea
>which of them would be fairly representative of weavers' capabilities in
>the 16th century?
>Slainte,
>Joe
>---
>Joe RObertson, Psy.D.

Mari Stewart  (who got painted with the 'Scottish Pride' brush early)
Cornell University


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Distressing Fabrics?
To: Historical Costume <h-costume@indra.com>
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 Something we have done to mute bright colours or
obviously synthetic dyes was to put several tea bags
in cheesecloth and run them all through the washing
machine. It will wash out the next time you wash them,
but in the meantime you get a little more natural, not
brand new look.


--- <mildred@thebartholomews.com> wrote: > I work with
a reenactment company that wants to take
> the edge off new clothes.
> We don't want to look like gutter trash, we just
> don't want our brand-new
> clothing to look brand new. Can anyone with a
> theatre background offer some
> advice or point me in the right direction?
> 
> Many thanks,
> Luanne Bartholomew
> 


=====
Aurum peccamenes multifariam texit

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] Lawsuit over the reselling of commercial patterns
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FYI - a case in the news regarding the monsterpatters vs. the big pattern companies can be found here http://www.prweb.com/releases/2003/5/prweb67370.php
This case involves monsterpatterns selling discarded simplicity/mccalls patterns on their site and auction site(s).

Simplicity/McCalls is claiming copyright infringement as monsterpatterns is showing photos of the pattern covers in their advertising when offering them for sale.  If the big pattern companies win, this would possibly mean no one would be able to post a picture of a book still under copyright on e-bay when they want to sell it without the risk of being successfully sued.  Same for NFL football jerseys or anything under copyright or with a trademark, or historical costume patterns (obligatory costume content).

I hate this whole quagmire of copyright and wish some more clear cut rules would be established!  There are too many conflicting lawsuit outcomes and that vary from state to state and jurisdiction, and that's not good for people wishing to use public domain material or for those investing time and money in making public domain material more readily available as part of their livelihood.

Still, not the barrel I wish to push by way of becoming a test case.

Lisa Sinervo
www.thrednedlestrete.com


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Old tartan
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Tartan: 
The Highland Habit
by Hugh Cheape
ISBN: 0-948636-70-X / 094863670X 
Title: Tartan: The Highland Habit 
Author: Hugh Cheape 
Publisher: National Museums of Scotland Publishing 
Edition: Hardcover 

This book has pictures of old tartans collected for
the museum, but of course they're mostly 17th and 18th
century. It will give you an idea what 16th century
tartans probably looked like.






 --- Joe Robertson <joedr@charter.net> wrote: >    Are
there any sources that provides tartan
> material in patterns and
> colours that would be correct for period? Since
> "modern" colours are
> intense and deep, I've checked many of the modern
> setts in "ancient" or
> old colours designed to somewhat approximate organic
> dyes of the past.
> Many of these setts are very, very complex. I've yet
> to find any imagery
> of tartan from the old days, though I know that it
> existed. 
>    Perhaps if some of today's setts would do, does
> anyone have an idea 
> which of them would be fairly representative of
> weavers' capabilities in
> the 16th century? 
> Slainte,
> Joe
> ---
> Joe RObertson, Psy.D.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume 

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Hey Joe -  Do be very careful with this resource... many of the actual 
samples in his collection are 20th century.  If you see his book the prints 
may be of pre-1745 images....   but were they drawn by Victorian 
artists?   I've looked at this one in the past... can't recall it off the 
top of my head... guess I'm going to go looking for it.

The link below will take you to the first page of a collection of tartan 
samples.  They are all (or nearly all) denoted as to their source of origin 
and Time Period.   In it is included the Telfer Dunbar collection.

http://houseoftartan.co.uk/house/nf_a.htm

>If you can find a copy of John Telfer Dunbar's History of Highland Dress
>(Batsford, London, 1972), you will see color prints of pre-1745 tartan. 
>There is a
>John Telfer Dunbar Collection that contains these tartans, but I don't know
>where the collection is housed.

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Subject: Re: [h-cost] Chenille thread
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Chris Laning writes:
> Usually in English, "underside couching" refers to something a 
> little 
> different -- the thin thread that is doing the couching stitches 
> comes up from under the fabric, over the big thread, and then goes 
> back down into the same hole in the fabric that it came out of. It 
> is 
> then pulled tight, so a little loop of the big thread is pulled down 
> 
> under the fabric. On the top, you don't see the couching thread at 
> all. I think this would be hard to do with chenille thread, because 
> it would make a bigger hole in the fabric.
> 
> Underside couching is usually used for thread that is thin, but very 
> 
> stiff, like gold thread. It keeps almost all the expensive gold 
> thread on the top of the fabric, and the only parts that are pulled 
> through the fabric are the small loops. But as Sue said, fabric 
> embroidered this way is much more flexible than if the gold was 
> surface-couched.

How does this differ from Or nue?

Arlys


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At 12:01 PM -0600 10/7/03, h-costume-request@indra.com wrote:
>Now that's not to say that specific areas, or families didn't have patterns
>that were specific to them,  made from local dyes etc.
>As I know samples of fabric were recovered from Culloden,  which occurred
>in 1746.   None of them are woven in the setts prescribed by today's
>tartan,  and many of them are simply checks, or solid fabrics.

I've woven a scarf in a sett from some of the cloth found at 
Culloden. It is very different and loud! I love it! The yellow and 
purple vibrate soooo nicely ( yellow possibly quceriton (oak) and the 
purple possibly lichen...) A whole kilt in it would be an eye opener 
for sure. Natural dyes = dull and sad, NOT. :-)
Ta
Carol, back to Fall Cleaning and finding the sewing room floor after 
sewing many, many coursing/racing blankets. Anyone need scraps of 
primary colors and some neons???
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Sorry to send this to the full list, but there were so many responses I
wanted to get the information out right away, and was afraid I might not
have kept a complete list of those who responded.  Lisa Sinervo, if you'd
post to your list as well, this way everyone will be sure to get the info.

The lady from the Bellagio has not responded to my last three emails as of
this morning.  She was either shooting off her mouth with no info, or has
apparently changed her mind, or has no concept of the magnitude of the
project.  I am going to say at this point that her offer was not fully
informed and that there probably isn't a genuine interest on the part of
Steve Wynn or his agents to get this project completed.

So sorry to have wasted any of your time, but will defnitely keep your names
for future projects as they arise, should they be genuine.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

http://www.cabbagerosecostumes.com

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Subject: Re: [h-cost] Old tartan
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On 01:33 07/10/2003 Joe Robertson said
>Are there any sources that provides tartan material in patterns and
>colours that would be correct for period? Since "modern" colours are
>intense and deep, I've checked many of the modern setts in "ancient" or
>old colours designed to somewhat approximate organic dyes of the past.
>Many of these setts are very, very complex. I've yet to find any imagery
>of tartan from the old days, though I know that it existed.

There was a kind of patterned material, but it wasn't tartan as we know it. 
There are accounts of patterned or checked fabric, but tartans as we know 
them were invented by the Victorians, first to become regimental colours, 
then for fun when Vicky and Albert became obsessed with Scotland and all 
things Scottish, following the success of Walter Scott's novels. No clan 
had its own tartan before the nineteenth century, although there were 
regional variations to the pattern.
As far as I know none has survived. You could try saffron dyes, and madders.


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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From h-costume-bounces@indra.com  Tue Oct  7 15:56:37 2003
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Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
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Lisa Sinervo wrote:

>FYI - a case in the news regarding the monsterpatters vs. the big pattern companies can be found here http://www.prweb.com/releases/2003/5/prweb67370.php
>This case involves monsterpatterns selling discarded simplicity/mccalls patterns on their site and auction site(s).
>
One thing I would be interested in knowing is whether the stores that 
discarded the patterns claimed the patterns were "destroyed" and claimed 
refunds from the pattern companies.  This has been a problem in book 
publishing with mass market paperbacks.  The paperbacks are so cheap 
that rather than (either the retailer or the publisher) paying postage 
to return them for credit, some  publishers' terms allow the retailer to 
tear off the covers, return those for credit, and destroy the rest of 
the book. Actual destruction of the book is on the honor system. Some 
retailers fail to do it, and the book somehow winds up getting resold 
(even though the credit for it was also collected; it's a sort of double 
sale).  Buying and selling mass market paperbacks with missing covers is 
a shady part of book retailing.

Is there a similar returns system with sewing patterns from the Big 
Pattern Companies?

>Simplicity/McCalls is claiming copyright infringement as monsterpatterns is showing photos of the pattern covers in their advertising when offering them for sale.
>
Well, the pattern companies do own the copyrights to their own images 
and marketing copy.  Such modern images would not be in the public 
domain unless the pattern companies explicitly put them there, which I 
doubt they would.

>  If the big pattern companies win, this would possibly mean no one would be able to post a picture of a book still under copyright on e-bay when they want to sell it without the risk of being successfully sued.  Same for NFL football jerseys or anything under copyright or with a trademark, or historical costume patterns (obligatory costume content).
>
You talk as if the outcome of one lawsuit determines some important 
aspect of copyright law.  Actually, although some attention is paid to 
legal precedents, usually no one case is definitive.  What would happen 
is that other people might sue about the same issue,  and all with 
somewhat different legal outcomes. I suspect other people may in fact 
already have conducted similar suits, though I haven't checked on it. 
But the use of marketing materials without permssion is probably not a 
totally new issue.

>
>I hate this whole quagmire of copyright and wish some more clear cut rules would be established!  
>

Copyright law has never been (what I think you would call) clear cut and 
probably never will be.   There are, however, a few simple, clear-cut 
rules for using public domain material that I think should keep most 
people out of trouble most of the time.   Note:  I'm a publisher, not a 
lawyer.

If you use US public domain material, use material published before 
1923. Use only originals, and only ones in your legal possession. Don't 
publish originals you borrowed without explicit permission to publish 
them. The person who owns them has property rights that are not 
copyright, but which are quite real, and which prohibit uses they did 
not agree to.  Don't use public domain work to which someone else has 
added (or may have added, if you're not sure) any original work, such as 
revisions, deletions, choice of materials for an anthology, editing, 
footnotes, an introduction, an index, etc. (That is, if they did this 
work after 1923.)  Don't violate any agreements you have made, such as a 
licensing agreement for access to a database. 

If you are at all unsure of whether it is OK to use a work, ask the 
copyright owner, the physical property owner, and/or a lawyer. You may 
need to do a copyright search.  Get any permissions, in writing, before 
you do what you were asking permission to do.  No one is offended  by 
your asking, even if permission turns out to be unnecessary, or even if 
they refuse.

Be aware that when some works were published,  US law differed 
significantly for unpublished versus published works.  The legacy is 
still around; an old unpublished manuscript is not necessarily in the 
public domain.  Be aware that copyright laws differ from country to 
country.  Most countries have agreed to respect each others' laws, but 
that does not mean laws are identical internatuionally. You can't just 
take a book on US law and apply it to British or Canadian publications.

If you are dealing with any confusing or complicated issue, if there is 
something you just can't understand or a copyroght owner you can't find, 
consult a lawyer.  It's a lot cheaper than a lawsuit..  It will probably 
be just a quick consultation. 

>There are too many conflicting lawsuit outcomes and that vary from state to state and jurisdiction, 
>
US copyright law is federal. It does not change from state to state.

>and that's not good for people wishing to use public domain material or for those investing time and money in making public domain material more readily available as part of their livelihood.
>
>  
>
I don't see it being that big of a problem.  One good thing about the 
public domain is it's really, really big. Only a small fraction of it 
has been reprinted/reissued.  If you can't figure out a copyright issue 
on your own and can't afford a lawyer, or if it turns out it's illegal 
to reprint this particular work--just reprint something else.  It's not 
like you are obligated to--or even able to--reprint everything in a 
certain area that is in the public domain.  So you can cherry pick.  
Just do the material that you know won't get you into trouble.

But, I can't quite see what the Big Pattern companies objecting to 
unauthorized use of their modern images has to do with reprinting works 
from the Renaissance, which is what you seem to me to want to do.  
There's no real legal connection.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: Joe Robertson <joedr@charter.net>
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Thanks for the reply.
"There was a kind of patterned material, but it wasn't tartan as we know
it. There are accounts of patterned or checked fabric..." 
   It was this early sort of pattern that I am trying to find evidence
of and sources for. Clan tartans were a much later invention, so I
certainly had not intended to call mine a clan tartan. I am just trying
to research what the patterns might have looked like and if some of the
modern one's would be similar. Too bad there seem to be none in
existence from the middle ages.
 Joe
---
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From: Joe Robertson <joedr@charter.net>
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Thanks much. I will try to find this book.
Joe
---
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Here's one to laugh about. Check out the Ogilvie sett. Seriously, have a
peak at Robertson red ancient. It is still bright without being
"analine" bright. It was suggested to me not because it was a Robertson
sett, but because it was unrecognizable and fairly simple.
Joe
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From: Appin1@aol.com
To: h-costume@indra.com (Historical Costume)
Subject: Re: [h-cost] Old tartan
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Status: RO

Stripes were very popular among the Celts too. Also check out the fabric remnants worn by Celtic-looking people that were found in Central Asia and western China. These were tartan and striped patterns, if I remember correctly. There are several books available on the archaeological finds (the titles of which escape me, of course).

Kathleen Norvell   
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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
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Status: RO

Just comments on what's been posted...

>>
> One thing I would be interested in knowing is whether the stores that 
> discarded the patterns claimed the patterns were "destroyed" and claimed 
> refunds from the pattern companies...

[snippage]

> Is there a similar returns system with sewing patterns from the Big 
> Pattern Companies?

There was when I worked retail. The tissue was to be removed from the 
envelope, separated, and if possible, shredded. The envelopes -- or 
perhaps just the envelope flaps -- were returned to the manufacturer.

I saw MonsterPatterns when they were selling patterns they'd got by 
dumpster-diving. They had the envelopes. It looked as if they'd 
collected patterns by the bagful out of the Joann's dumpster , and put 
scans of the images on their site. I can't recall if they were using 
some of the pictures from the Simplicty and McCall's websites, too.

There are links from MonsterPatterns to their lawyer's website, where 
the court documents filed for this case have been posted as .pdfs. I 
read some of them this morning.

> 
>>  If the big pattern companies win, this would possibly mean no one 
>> would be able to post a picture of a book still under copyright on 
>> e-bay when they want to sell it without the risk of being successfully 
>> sued.  

You would be able to use a photo of the item that you took yourself. You 
would not be able to use the photo off the manufacturer's website or 
catalog. Which is how most companies interpret the law today.


I've been following the lawsuit because the pattern companies are 
claiming infringement on their pattern images, which seems odd. You'd 
think they'd want their re-sellers to do their best to market the 
product, including using pictures of it. I realize they do have rights 
to restrict this use even when it does them no good. But I suspect that 
the real issue is that MonsterPatterns isn't a contracted reseller of 
patterns, and that's what's got McCall's and Simplicity riled up. They 
probably don't have any policies concerning 'unauthorized' resale of 
their product, so they slapped an IP infringement suit on them as 
harrassment.

My concern is that right now I use a lot of those images myself on my 
pattern review pages. My reading of the copyright law is that protected 
material can be reproduced when it is being used in a review. I would 
prefer not to have the pattern companies scouring the web and denying 
everyone of any use of their images because this case left a sour taste 
in their mouth.




Dawn




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From h-costume-bounces@indra.com  Tue Oct  7 16:58:44 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Gustav III' suit.
Date: Tue, 7 Oct 2003 13:57:50 -0700
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Status: RO

Wow!  I remember the suit now but had not realized there were those up close
shots.  What is the material inside some of the embroidery which looks like
pools of blue and silver water?    Is it mica?

It wouldn't hurt to ask to link, though I can't imagine they would have a
problem with it provided you explained what and who you were linking to.  I
doubt that the link is 'copyrightable'.  You just can't copy the image and
put it up on your own site...

I am taking a class on copyright right now...it is very confusing sometimes!

Thanks for the pics!

Sg


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From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
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Status: RO

 --- Dawn <dawn@reddawn.net> wrote: > 
> My concern is that right now I use a lot of those images myself on my 
> pattern review pages. My reading of the copyright law is that protected 
> material can be reproduced when it is being used in a review. I would 
> prefer not to have the pattern companies scouring the web and denying 
> everyone of any use of their images because this case left a sour taste 
> in their mouth.

You are allowed to use those images in the confines of the original meaning of
Fair Use. When using them for critical purposes, reviews, recommendations, etc
then yes, you are allowed to. I am not able to reproduce the exact wording,
even if I weren't a non native speaker, but look on the net.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
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	<3F831A7E.9080703@lavoltapress.com> <3F83279A.3000701@reddawn.net>
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 > There was when I worked retail. The tissue was to be removed from the 
envelope, separated, > > and if possible, shredded. The envelopes -- or 
perhaps just the envelope flaps -- were returned > > to the manufacturer.

Presumably the envelopes were returned by the stores, and the pattern 
manufacturers gave the stores credit (that is, returned money the store 
paid or owed for the patterns,  because the patterns did not sell after 
all).  So the sale of these patterns is not authorized by the pattern 
companies, who expected them to be destroyed, and who are not being paid 
for them.

>
> I saw MonsterPatterns when they were selling patterns they'd got by 
> dumpster-diving. They had the envelopes. It looked as if they'd 
> collected patterns by the bagful out of the Joann's dumpster , and put 
> scans of the images on their site. I can't recall if they were using 
> some of the pictures from the Simplicty and McCall's websites, too. 

I have a very dim memory of this, but I think there is some question as 
to the legality of dumpster diving.   I'm not sure someone's wanting 
stuff to be picked up by the local garbage collectors, legally 
translates into permission for pickup by anyone at all.

>
> You would be able to use a photo of the item that you took yourself. 
> You would not be able to use the photo off the manufacturer's website 
> or catalog. Which is how most companies interpret the law today. 


Yes, I believe so.  The same with marketing copy. 

>
>
>
> I've been following the lawsuit because the pattern companies are 
> claiming infringement on their pattern images, which seems odd. You'd 
> think they'd want their re-sellers to do their best to market the 
> product, including using pictures of it.

If MonsterPatterns got the patterns by dumpster diving, they are not an 
authorized reseller.  Fabric stores, and other retailers the pattern 
comany sells to directly, are authorized resellers. I suspect the 
pattern companies feel fine about _them_ using the images. 


> I realize they do have rights to restrict this use even when it does 
> them no good. But I suspect that the real issue is that 
> MonsterPatterns isn't a contracted reseller of patterns, and that's 
> what's got McCall's and Simplicity riled up. They probably don't have 
> any policies concerning 'unauthorized' resale of their product, so 
> they slapped an IP infringement suit on them as harrassment. 

Well, it is an unauthorized sale if the fabric store falsely claims the 
patterns were destroyed, gets credit/money for them, and then the same 
patterns show up on the market and no money goes to the pattern 
company.  I can understand why the pattern companies are annoyed.

>
>
> My concern is that right now I use a lot of those images myself on my 
> pattern review pages. My reading of the copyright law is that 
> protected material can be reproduced when it is being used in a 
> review. I would prefer not to have the pattern companies scouring the 
> web and denying everyone of any use of their images because this case 
> left a sour taste in their mouth.
>
Why not invite the companies to visit your site, and ask them if your 
use is OK?  If it's not legal, you'll be doing the right thing by asking 
permission and taking down the images if you don't get it. If it is 
legal, you can quit worrying about it.

Fran

>
>

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: [h-cost] Kid leather for binding corsets?
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Hi all, I know some of you have used kid leather to bind the edges of your
corsets.  Where do you get your leather from.  (US suppliers.I guess Canada
is fine as well)

 

Sg

 

Thanks

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Subject: [h-cost] Luther the movie
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We went and saw the movie Luther yesterday.  The
clothing looked good for the period but this is not my
time period or country.  I liked some of his wife's
dresses towards the end so now I have to go look at
German/Austrian/Holy Roman Empire clothes sources.
Some one else on list said something about the lack of
attendents so I looked for this while watching.  There
were several scenes where important people were alone
with other characters but I got the impression that
these were private audiences while the other scenes
had lots of attendents.  The dressing the Pope scene
has me curious as to whether they got the
undergarments correct.  Any comments?
                                         Cassandra

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Fran Grimble wrote:
> Well, it is an unauthorized sale if the fabric store falsely claims the 
> patterns were destroyed, gets credit/money for them, and then the same 
> patterns show up on the market and no money goes to the pattern 
> company.  I can understand why the pattern companies are annoyed.

Right, because that's (more or less) theft.  The thing I'd like to know 
is: Is this about theft as described, but about any resale (as if they'd 
got them all from someone's garage sale or other legitimate means), and 
if it's about plain resale, how does it differ from reselling any other 
creative item, like books?

On the related note of copyright, I have found these pages useful.  The 
first, for "current thinking" on use of photos of ancient art and the 
second for "what is a derivative work?"

http://www.panix.com/~squigle/rarin/corel2.html  -- The Bridgeman vs. 
Corel decision 1999

http://www.artslaw.org/DERIV.HTM  -- Other good stuff on this site.

I read all the stuff at CafePress before I did the two T-shirt designs, 
but it didn't address the "photos of flat ancient art" issue; the above 
is what I found that made me fairly sure I was within the law.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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Kate M Bunting wrote:
> Any Victoriana fans in the UK see "Antiques Roadshow" last night?
> Someone produced an 1860s bodice and skirt which a friend had passed on
> to them  when she moved to a smaller house. It was in salmon pink and
> silver - a bit insipid for my taste, but the condition of the garments
> was amazingly good.

How much did they price it at?  I've got a few things in very good 
condition that were in the family....

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

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don't believe in it at all.
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Bjarne og Leif Drews wrote:
> http://www.lsh.se/livrustkammaren/press/Klarbild/GIII/T008299_hel.jpg

Wow.  Even from a modern perspective, where it's easy to be glitzy, that 
is an amazing suit!  And then to think about the effort that went into 
it, and the effect it must have had when worn!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
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Ref:  Progress, etc.

OH!  Lucky you. :-) I've been looking now that I know that it exists, but no
one has a copy except possibly Amazon.  Even with Amazon, I suspect they are
being optimistic and hoping they can get the books if you order.

I'll definitely keep an eye out.  Isn't there some book searcher that has a
"want list" option?

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Joan Jurancich
> Sent: Monday, October 06, 2003 9:02 PM
> To: Historical Costume
> Subject: RE: [h-cost] ILL comes through Again!
>
>
> I got a copy of the reprint volumes for about $100 just two years ago.  I
> got them via ABEbooks.
> Joan Jurancich
>


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <001201c38cd7$46baa440$cf22a5d1@pavilion>
	<3F831A7E.9080703@lavoltapress.com>
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
Date: Tue, 7 Oct 2003 17:49:43 -0700
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Fran wrote:

> But, I can't quite see what the Big Pattern companies objecting to
> unauthorized use of their modern images has to do with reprinting works
> from the Renaissance, which is what you seem to me to want to do.
> There's no real legal connection.
>
It doesn't, they have nothing to do with each other, but being pressed for
time as I always am, I often don't proof read the emails I send or check
carefully enough for cohesion in my thoughts. I was just thinking about both
subjects at the same time.

Lisa Sinervo


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In a message dated 10/7/2003 8:32:02 PM Eastern Standard Time, 
wandap@hevanet.com writes:
I'll definitely keep an eye out.  Isn't there some book searcher that has a
"want list" option?
I haven't used it in a while, but I believe ABE has one.
Ann Wass
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] ILL comes through Again!
Date: Tue, 7 Oct 2003 18:28:51 -0700
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ABE does have a "want list" option. Thanks for the tip.  I will still xerox
these if I can, but real, hard bound would be preferable!

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of AnnBWass@aol.com
> Sent: Tuesday, October 07, 2003 5:46 PM
> To: h-costume@indra.com
> Subject: Re: [h-cost] ILL comes through Again!
>
>
> In a message dated 10/7/2003 8:32:02 PM Eastern Standard Time,
> wandap@hevanet.com writes:
> I'll definitely keep an eye out.  Isn't there some book searcher
> that has a
> "want list" option?
> I haven't used it in a while, but I believe ABE has one.
> Ann Wass
> _______________________________________________
> 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: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] partial EEBO subscriptions 
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I was looking at the EEBO subsciption section and noticed that they offer subscriptions for segments of the database.  So perhaps Nocole's department could subscribe to the "gender studies" portion for a reduced fee.  I know the price is pretty steep but I bet it costs a pretty penny to put together.  

Lisa Sinervo


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From h-costume-bounces@indra.com  Tue Oct  7 21:55:21 2003
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Subject: Re: [h-cost] ILL comes through Again!
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Here's three that do:

Abebooks
www.abebooks.com/
Go to your account, click on "Your Wants".

Half.com
http://half.ebay.com/index.jsp?ad=10902&ssPageName=HHL01
Search for the book, add it to your wish list; they notify when one comes in
if it isn't currently in stock.

Powell's
http://www.powells.com/
Search for the book, click on "Notify Me".

Hope this helps,

                 -Aidan


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On Tuesday 07 October 2003 08:45 pm, AnnBWass@aol.com wrote:
> In a message dated 10/7/2003 8:32:02 PM Eastern Standard Time,
> wandap@hevanet.com writes:
> I'll definitely keep an eye out.  Isn't there some book searcher that has a
> "want list" option?
> I haven't used it in a while, but I believe ABE has one.

Alibris does too.



-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Subject: Re: [h-cost] Old tartan
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Kathleen wrote:

> Stripes were very popular among the Celts too. Also check out the fabric
remnants worn by Celtic-looking people that were found in Central Asia and
western China. These were tartan and striped patterns, if I remember
correctly. There are several books available on the archaeological finds
(the titles of which escape me, of course).


I think the books you're referring to are both by Elizabeth Wayland Barber-
"Women's Work: the First 20,000 Years; Women, Cloth, and Society in the
Early Times" (ISBN: 0393313484), "The Mummies of Urumchi" (ISBN:
0393320197), and "Prehistoric Textiles: the Development of Cloth in the
Neolithic and Bronze Ages with Special Reference to the Aegean" (ISBN:
069100224X).  All three are currently available in paperback.

                  -Helen/Aidan


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Date: Tue, 7 Oct 2003 19:23:36 -0700
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From: Chris Laning <claning@igc.org>
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At 5:34 PM -0700 10/7/03, Wanda Pease wrote:
>I'll definitely keep an eye out.  Isn't there some book searcher that has a
>"want list" option?

Alibris does as well, and I've actually had more successful "hits" 
from them. So does Half.com, for that matter, though I get the 
feeling they're unlikely to come up with anything this old or this 
valuable.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Tue, 7 Oct 2003 19:38:41 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Chenille thread
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At 7:43 AM -0700 10/7/03, Cynthia J Ley wrote:
>Chris Laning writes:
>>  Usually in English, "underside couching" refers to something a
>  > little different -- the thin thread that is doing the couching stitches
>  > comes up from under the fabric, over the big thread, and then goes
>>  back down into the same hole in the fabric that it came out of. It
>  > is then pulled tight, so a little loop of the big thread is pulled down
>
>How does this differ from Or nue?

In Or Nué, the gold thread is all laid on the surface, in close 
parallel rows so that none of the background shows. It is first 
surface-couched with matching thread. None of it is pulled down 
through the fabric.

Then, _over_ the gold thread, stitches are taken in colored silk -- 
close together in the dark or shadowed areas, far apart in the light 
areas, to create the pattern. You have to do a whole layer of gold 
work first and can only _then_ start to do the "real" design, so not 
only does it take skill, but a lot of patience. (I've seen people 
recommend doing Or Nue all in one step -- i.e. laying gold thread on 
the surface and couching it down with colored silk -- but I don't 
believe it was done that way in period, and I'd think it would be 
lots harder to keep the rows of gold even and straight.)

It's easy to confuse Opus Anglicanum and Or Nué if you've never seen 
them at end-of-your-nose close distance, especially since most of us 
have never had the opportunity to take a class in either technique. 
They were both used to make very rich embroideries with lots of gold 
in the background. However, not all people describing such 
embroideries actually know what they are talking about :(, so they 
sometimes use confusing ways of describing them... :) A well-known 
magazine a few years ago described Or Nué as "Or Nu," for instance, 
which would have meant "Naked Gold." Actually Or Nué means "Gold 
Shaded" (compare Nué with the word "nuance").

However the two techniques were at their height (in terms of design 
and craftsmanship) in slightly different times and places; the best 
Opus Anglicanum is generally thought to have been done in the 12th 
and 13th centuries in Britain, and the best Or Nué in the 14th and 
perhaps 15th century on the European continent. I suppose it's 
possible that the people who invented Or Nué were actually trying to 
imitate the older art, since underside couching had pretty much died 
out as a technique by the time Or Nué became prominent.

Hope that helps . . .
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Hi, All. Kathy, on that note, I went with Leigh and the boys to Stitches 
East (knitting event held in AC). we met a lady there that teaches 
classes on mushroom and lichen dyes in historical use. She and I spent 
about 20 min. talking about lichen dyes of the Western Isles. She lives 
in Virginia, and says she does classes. Perhaps interested parties could 
be gathered for discussions. Some of the lichen dyes were vibrant! We 
can talk (you, me, Mara, Terry B. and anyone else interested) at St. 
Maries at more length. If we get together a group for a class, we'll 
post it to H-cost, OK?  Cheers, Mike T.

Appin1@aol.com wrote:

>If you can find a copy of John Telfer Dunbar's History of Highland Dress 
>(Batsford, London, 1972), you will see color prints of pre-1745 tartan. There is a 
>John Telfer Dunbar Collection that contains these tartans, but I don't know 
>where the collection is housed.
>
>The tartans are very bright and colorful. If you can't find the book, let me 
>know and I will scan the pictures of the tartans. 
>
>For historical purposes, I would choose an irregular sett, and try to pick an 
>unrecognizable  pattern if you can ("Clan McRemnant"). Try to avoid obvious 
>ones like Royal Stewart, Black Watch, or "Loud McCloud."
>
>Kathleen Norvell
>_______________________________________________
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>h-costume@mail.indra.com
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>
>  
>

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DATE: Wed, 24 Sep 2003 16:30:49
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Cc: 

>Hi,
>I'm reading som Arthurian legends and books on the subject of chivalry.
>There is this intriguing custom of giving a sleeve as a favor to a knight so
>that he can bear it into battle. That's present at least in one 12th century
>story (I think it's 12th C) where a girl says that her sleeves are much too
>small and she'll need to find something bigger to give.

FWIW in _Parsifal_ by Wolfram von Esenbach (which having no German I've only read in the Penguin English translation) a lady has a gown made without one sleeve.  This sleeve is then given to Parsifal as a favor.  In the same book, a lady has the habit of giving an entire chemise to her husband as a favor.  He wears it over his armor when he fights in tournaments, and is thus protected by her love.  When he comes back from tourney she puts on the hacked up chemise back on, in the privacy of their chamber of course ;)

-Katie
---
Willow: No, Ma, hear this! I'm a rebel! I'm having a rebellion!
Sheila: Willow, honey, you don't need to act out like this to prove your specialness.
Willow:  Mom, I'm not acting out. I'm a witch! I-I can make pencils float. And I can summon the four elements. Okay, two, but four soon. A-and I'm dating a musician.I worship Beelzebub. I do his biddings. Do 
you see any goats around? No, because I sacrificed them.
Sheila:I'm not listening to this.
Willow:Prince of Night, I summon you. Come fill me with your black, naughty evil.








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Thanks. That's exactly what I was trying to think of.

Kathleen
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
References: <20031007231147.50998.qmail@web12002.mail.yahoo.com>
Subject: Re: [h-cost] Luther the movie
Date: Wed, 8 Oct 2003 00:43:45 -0400
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Cassandra,

I have found some wonderful history of vestments at:
http://www.newadvent.org/cathen/14301a.htm
This site also links frequently to another site that provides a lot of
details on vestments.  So look for external links within the text.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
www.costumeclassroom.com
----- Original Message ----- 
From: "Cascio Michael" <rosenau5@yahoo.com>
To: <h-costume@net.indra.com>
Sent: Tuesday, October 07, 2003 7:11 PM
Subject: [h-cost] Luther the movie


> We went and saw the movie Luther yesterday.  The
> clothing looked good for the period but this is not my
> time period or country.  I liked some of his wife's
> dresses towards the end so now I have to go look at
> German/Austrian/Holy Roman Empire clothes sources.
> Some one else on list said something about the lack of
> attendents so I looked for this while watching.  There
> were several scenes where important people were alone
> with other characters but I got the impression that
> these were private audiences while the other scenes
> had lots of attendents.  The dressing the Pope scene
> has me curious as to whether they got the
> undergarments correct.  Any comments?
>                                          Cassandra
>
> __________________________________
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I have tried to unsubscribe and tried.  PUHLEASE unsubscribe me.  I have gone 
to the website, sent to the email address advised and still am subscribed.  
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From h-costume-bounces@indra.com  Wed Oct  8 00:58:59 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Kid leather for binding corsets?
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I didn't buy kid leather for my binding, I got chamois leather.  Thin,
flexible, washable.  Didn't come in anything except "leather" color,
though. ;-(
--sue

"Saragrace T. Knauf" wrote:
> 
> Hi all, I know some of you have used kid leather to bind the edges of your
> corsets.  Where do you get your leather from.  (US suppliers.I guess Canada
> is fine as well)
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From h-costume-bounces@indra.com  Wed Oct  8 01:03:33 2003
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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
Date: Wed, 8 Oct 2003 01:05:39 -0400
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Status: RO

I do recall on one of the email lists I am on, that someone had copies of
patterns on their website.  I wrote the lady personally and asked about it.
She paid $75 per image to the pattern companies to put them online.  She
said this was a discounted price because someone in the family worked for
the companies.

Now, if you have a commercial website and using the pattern companies names
or logos, or any other business, you can get sued for Trademark Infringement
(TI).  This is true especially if you put the companies name in your meta
tags or webpage title.  Due to the fact that search engines are picking up
the words in the tags.  I receive a weekly newsletter about internet
lawsuits.... the amount of lawsuits over the past five years for this type
of TI is unbelievable.  Now when I say commercial, I mean receiving any
money at all off the website, even by having banner ads on your site is
considered making money.  (If you have a Tripod or Geocities website the ads
are under their control not yours.) This is one legal tactic the music
industry is using against the music download sites.  They are receiving
money from the spyware used and ads.  If you are going through an affiliate
marketing program, such as Linkshare or Amazon, the permissions were granted
in the agreement/contract you signed with them.

I talked a long time ago with Vogue/Butterick patterns about joining up with
an affiliate marketing program, so that people could sell their patterns
online.  They were interested and wanted me to get back with a proposal.  At
the time, I got busy and never got around to it.  Maybe someone else would
like to venture down that avenue.

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


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From h-costume-bounces@indra.com  Wed Oct  8 01:16:50 2003
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From: "chiara" <chiara@io.com>
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Subject: Re: [h-cost] Kid leather for binding corsets?
Date: Wed, 8 Oct 2003 00:15:48 -0500
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A source for chamois leather, and do not fall too hard off your chairs when
you read what I am about to type, is Wal-mart.

In the car section there is are chamois leather "car dry clothes". They use
them to wipe off moisture from the car after it has been washed.

It is what I use for some of my classes for teaching.

Chiara

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 12:00 AM
Subject: Re: [h-cost] Kid leather for binding corsets?


: I didn't buy kid leather for my binding, I got chamois leather.  Thin,
: flexible, washable.  Didn't come in anything except "leather" color,
: though. ;-(
: --sue
:
: "Saragrace T. Knauf" wrote:
: >
: > Hi all, I know some of you have used kid leather to bind the edges of
your
: > corsets.  Where do you get your leather from.  (US suppliers.I guess
Canada
: > is fine as well)
: _______________________________________________
: h-costume mailing list
: h-costume@mail.indra.com
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Here is a site that has links to the lawsuits... each company was suing one
another:
http://www.tabberone.com/Trademarks/McCalls/mccalls.html

I wonder if they settled out of court or if it went to trial.  I didn't find
anything else on the web about the suit but the two articles mentioned.

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


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Cynthia,

Thank you for the wonderful links.  I filed them under my copyright
favorites.

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


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I found one dated June 3... but no settlement at that time.
http://www.microenterprisejournal.com/articles/legal/20030602.html

I heard on the news today about a lawsuit with closeout stores and Mattel
about selling expensive Barbies cheap.  I'd like to see what happens with
this one too.

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


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Subject: Re: [h-cost] Luther the movie
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> We went and saw the movie Luther yesterday.  The
> clothing looked good for the period but this is not my
> time period or country.  I liked some of his wife's
> dresses towards the end so now I have to go look at
> German/Austrian/Holy Roman Empire clothes sources.

http://frazzledfrau.glittersweet.com I even have a few links to portraits of
Catherine von Bora (often as an acompanment to a Luther portrait.)
And now I see why there are a number of portraits of her by Cranach:
http://www.wittenberg.de/e/seiten/personen/bora.html
I was very pleased to see they used Z lacing for her plastron gown in the
promotional material. It's a point often overlooked in modern
interpretations. I've been hankering after this movie for a while now, and I
have no idea when it will open here, if at all.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Circle skirts...
Date: Wed, 8 Oct 2003 19:24:42 +1300
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> Sooooo finally, my discussions point or question is this....what are your
> observations and research telling you about the use of circle skirts.  We
> know that at least some of the Waffenrocks were cut in truncated triangles
> which eventually led to a circular skirt and that some of the patterns in
> Juan Algacea's patterns are at least modified circles.   We discussed that
a
> dressmaker would probably have the skills, but what about the middle
> classes?

What waffenrock patterns/extant garments are these? I've only ever seen the
one in Blanche Payne's book which is cut in one (or two, I never did figure
out if it was on the fold or what.)

I have seen a theatrical book with top and tailed rannow trapeze shapes to
mimic the pleats in German Ren. costume (though the portrait they used
actually is more likely to be stacked or rolled pleats because of the way
they fall at the hem.)

Honestly I think the circle was an aim rather than a set shape. What I mean
is that the ideal was for a full circular shape (those bases, Mary of
Hungary's dress and a skirted doublet of the late 15thC are all extant
garments with a full circle and many paintings so what has to be a circle
with sunray pleating etc) but as it uses so much fabric how many people of
lesser means could afford it?

If you top and tail wedges of circles you can get the effect (full hem
little bulk at the waist) you can also save fabric. And we are dealing with
a time when fabric was much much more expensive than it is now so you want
to conserve fabric.

My Leyden dress utilised this idea. The front panels (skirt and bodice in
one) were top and tailed with the back skirt. The side seams being on an
angle.
http://costumes.glittersweet.com/leyden.htm

michaela
http://costumes.glittersweet.com


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Victorian dress on "Antiques Roadshow"
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Kate Bunting
Library, University of Derby

>>> cvirtue+dated+1081123770.b9fa76@thibault.org 10/07/03 10:37pm >>>
Kate M Bunting wrote:
>> Any Victoriana fans in the UK see "Antiques Roadshow" last night?
>> Someone produced an 1860s bodice and skirt which a friend had
>>passed on to them  when she moved to a smaller house. It was in salmon
>>pink and silver - a bit insipid for my taste, but the condition of the
>>garments was amazingly good.

>How much did they price it at?  I've got a few things in very good 
>condition that were in the family....

I can't remember for certain (cynics say that viewers are only
interested in the prices, but I watch it for the human interest!) I
think it was getting on for 1000 pounds, though.



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 --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > I was looking at the
EEBO subsciption section and noticed that they offer
> subscriptions for segments of the database.  So perhaps Nocole's department
> could subscribe to the "gender studies" portion for a reduced fee.  I know
> the price is pretty steep but I bet it costs a pretty penny to put together. 

Thank you Lisa, that's very kind of you to send the info out.
Gender Studies wouldn't do, because it would have to be 16th & 17th c.
literature. However, I'll pass that onto my supervisor. I still think they
should stagger the price, it is unfair to keep information away and under
control of those who have  a lot of money.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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From h-costume-bounces@indra.com  Wed Oct  8 04:57:03 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 8 Oct 2003 10:59:35 +0200
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Subject: [h-cost] clouds on Gustav III's suit
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Saragrace.
You asked what the clouds on the suit was made of.
It is called Paillons.
Paillons are colored spangles cut from thin sheets of silver and varnished
in different colours. Larger  than paillettes, they are sometimes colored by
workers after being sewn in place. Paillons can be attached either by
stitching the frisure in the holes that border the pallion or by running
small stitches of bouillon between the holes. A good effect can be achieved
by covering them partially with matching silk thread sewn at an angle and
revealing part og the paillon. When embroidering areas of shadow on the
background one must not use paillons wich are pierced along their edges.
I had this information from "Art of the Embroiderer" by Charles Germain de
Saint-Aubin.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] 
	costume books I've just boaght, and why costuming is taking a back
	seat now:(
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Firstly on Monday I bought some books.. Now usually when i got to The
Hard to Find (but worth the effort) Bookstore they have no costume or
history books I want.. Well on Monday they did... I even had to put some
back.

In the end I bought:
Historic Costume, by Lester. Terrible line drawings and it icludes a so
called metal corset drawing and the corset is most likely to be a
Victorian fantasy recreation like those chastity belts.

The Perfect Lady, C.W.Cunnington. Published in 1948 includes photos of
real garments being worn by real women. It's makes the historian in me
cringe but I haven't seen some of these garments before.

Anne of Cleves, by Mary Saalar (I think.) Nice list in there of what she
got after the divorce/annullment mentions her wearing English costume
soonish after arriving in England.

Elizabeth, The Exhibition at the National Maritime Museum. Actually only
very recently published so I have no idea how this mint condition book
with mint dust jacket got into a used book store.

The Woman Beautiful, or Maidenhood, Mariage and Maternity. Published pre
WWI on everything a woman "needs" to know. So there is information on
how you should dress, flirt and find a marriage partner. Or indeed to
not marry. There are amazing anotomical etchings in there and a flip
thing of the organs of a woman. She's pregant of course as that's the
natural state for a woman;) Also I know we've discussed menstruation on this
list before in relation to costuming.. this book suggests the menses is
nothing more than a little fluid and only if you are "diseased" then there
is much blood and last for several days.

Hands up anyone who would like to live in that fantasy world....

And today I got my xrays back from my trip at the beginning of
September. Now I knew I had joint space loss in my wrists. And the pain
was enough if not the report of the radiologist. But when I saw the
results for myself I had to have a wee cry:

http://glittersweet.com/left1.jpg
http://glittersweet.com/left2.jpg
http://glittersweet.com/right1.jpg
http://glittersweet.com/right2.jpg

It's nearly bone on bone between the radius and carpal bone things.

So sewing is extremely painful, and actually detrimental to my wrists. I
have no idea how much sewing I'm capable of doing, but recently I've been
able to sew about a seam a day. With a day or two between.

Typical timing too. I have been asked to make several costumes, and to help
costumea  short film with a fantasy/futuristic feel to it. I haven't turned
it down, but I hope the workload won't be too much.


As a final up note, I also took a photo today:
http://glittersweet.com/radio.jpg

Trying to work out what it is? It's a radio toilet roll holder. So
classy I know. But I think it is original to our house which was built
in 1949.

michaela
http://costumes.glittersweet.com


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Kate M Bunting wrote:
> I can't remember for certain (cynics say that viewers are only
> interested in the prices, but I watch it for the human interest!) I
> think it was getting on for 1000 pounds, though.

Thanks!  I watch it for the history lessons -- and the interest of the 
price also.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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Hi, All. As a person that works in a casino-hotel in Atlantic City, and 
works closely with the Marketing/Banquets/Special Events Depts., I would 
guess that this person was running with a half-baked idea that they got 
from their boss, which was in turn dreamt up in some executive meeting. 
The execs usually have a meeting every week, and seek to be encouraged 
to free-form ideas that aren't necessarily practical. I can't tell you 
how many times a really impractical (and sometimes just plain hilarious) 
idea has been sent down to us to see if we could do it. We usually 
respond by saying "Of course we can do this, but it will cost you $$$", 
which usually puts out their ardour rather nicely. They love pretty 
things, but are usually loathe to pay for them. BTW, I hadn't heard that 
this was a casino, or I'd have warned you. The one department (Special 
Events, usually) takes, but the other (Purchasing) that gives (your 
payment), is notoriously slow. You might, if lucky, get paid in 3 
months. Sometimes, they also get quotes from a number of people as a way 
to force a business they already plan on dealing with to lower their 
spec. on a job. Another problem is that sometimes an executive's spouse 
is hired by the company as the head of Special Events/Banquets, 
assumedly because they know how to throw a good party/know who to call 
for catering, etc. Not only can they do no wrong, but they are usually 
clueless, and have no people skills to speak of...  Mike T. speaking 
from years of experience  PS All this said, Steve Wynn is still probably 
one of the more trustworthy names to work for, he will respond directly 
to problems/complaints, and *is* a real people person.

angelalazear wrote:

>Sorry to send this to the full list, but there were so many responses I
>wanted to get the information out right away, and was afraid I might not
>have kept a complete list of those who responded.  Lisa Sinervo, if you'd
>post to your list as well, this way everyone will be sure to get the info.
>
>The lady from the Bellagio has not responded to my last three emails as of
>this morning.  She was either shooting off her mouth with no info, or has
>apparently changed her mind, or has no concept of the magnitude of the
>project.  I am going to say at this point that her offer was not fully
>informed and that there probably isn't a genuine interest on the part of
>Steve Wynn or his agents to get this project completed.
>
>So sorry to have wasted any of your time, but will defnitely keep your names
>for future projects as they arise, should they be genuine.
>
>angela
>+++++
>Angela F. Lazear
>Cabbage Rose Costumes
>Theatrical Costume Design
>"Love all, trust a few, do wrong to none:
>be able for thine enemy rather in power than use,
>and keep thy friend under thy own life's key:
>be checked for silence, but never taxed for speech..."
>W. Shakespeare
>
>http://www.cabbagerosecostumes.com
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>

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So, I wanted bargain books.  I typed "costuming" into Overstock.com's search 
page.  Lo and behold..I found four pages of stuff!  A good deal of it is 
children's books- Gus and Grandpa's halloween, and such.  However, I did find:

The Costume Designer's Handbook at $19.39
The Costume Technician's Handbook at $28.69

Both of these are selling for (according to Overstock) less than at 
Amazon.com.  Dunno if I need these, but they might be helpful to someone!

Christine
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Just stumbled across this site:

http://www.northerner.com/historical_jewelry.html

__________________________________
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Date: Wed, 08 Oct 2003 06:57:47 -0600
From: Sue Clemenger <mooncat@in-tch.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Kid leather for binding corsets?
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And Target. <g> That's where I got mine (for the corset, and for a
glove-making class).
--sue

chiara wrote:
> 
> A source for chamois leather, and do not fall too hard off your chairs when
> you read what I am about to type, is Wal-mart.
> 
> In the car section there is are chamois leather "car dry clothes". They use
> them to wipe off moisture from the car after it has been washed.
> 
> It is what I use for some of my classes for teaching.
> 
> Chiara
> 
> ----- Original Message -----
> From: "Sue Clemenger" <mooncat@in-tch.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, October 08, 2003 12:00 AM
> Subject: Re: [h-cost] Kid leather for binding corsets?
> 
> : I didn't buy kid leather for my binding, I got chamois leather.  Thin,
> : flexible, washable.  Didn't come in anything except "leather" color,
> : though. ;-(
> : --sue
> :
> : "Saragrace T. Knauf" wrote:
> : >
> : > Hi all, I know some of you have used kid leather to bind the edges of
> your
> : > corsets.  Where do you get your leather from.  (US suppliers.I guess
> Canada
> : > is fine as well)
> : _______________________________________________
> : h-costume mailing list
> : h-costume@mail.indra.com
> : http://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Wed Oct  8 09:13:15 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Gerards Herbal free download on  EEBO
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Gerards Herbal can be found under the featured and free section at the link
below, under gardening I think.  It is a 700+ page book that sells for $100
at Dover and contains ooldes of drawings of plants, many of which could be
very inspirational  for embroidery motifs.

Lisa Sinervo


----- Original Message -----
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 05, 2003 10:25 AM
Subject: [h-cost] Was "umbrellas" now EEBO


> Early English Books On-Line can be found here:
>
> http://wwwlib.umi.com/eebo/
>
> However, without an authorized sign-in, you can only
> sample it (BIG samples, however).  Click on "Featured
> Content-Free" and browse the lists on the page- you
> can see many pages and images per item of each of the
> "100 Best" lists and get some other free content.  I
> crawled through the help screens and found this e-mail
> address:
>
> pqsales@il.proquest.com
>
> as a contact for further info about EEBO.  This looks
> like the best bet for finding out how to get an authorized
> sign-in.  I'll post again if I find some additional info.
>
> Enjoy what's there,
>
>                 -Aidan
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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>


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From h-costume-bounces@indra.com  Wed Oct  8 09:51:54 2003
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Subject: [h-cost] 
	the difficulty in obtaining and sharing primary costuming sources -
	was lawsuit over reselling of commercial patterns
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Fran wrote:
>
> I don't see it being that big of a problem.  One good thing about the
> public domain is it's really, really big. Only a small fraction of it
> has been reprinted/reissued.  If you can't figure out a copyright issue
> on your own and can't afford a lawyer, or if it turns out it's illegal
> to reprint this particular work--just reprint something else.  It's not
> like you are obligated to--or even able to--reprint everything in a
> certain area that is in the public domain.  So you can cherry pick.
> Just do the material that you know won't get you into trouble.

If I simply wanted to publish SOMETHING, it wouldn't be a problem at all.
But if one is working with in the field of 16th century costuming as I am,
there are certain specific resources needed and one cannot substitute, nor
can one buy the original copy of "The Needle's Excellency" to get out of
entering into a licensing agreement for a work that is already IN THE PUBLIC
DOMAIN.

It seems to me, that it takes a few years of working in the field of
historical costuming just to find out where the really good sources of
information are.  Then it takes a huge expenditure of time and money to
obtain them, an impossible task if one is not fairly devoted or if on a tiny
budget.  Then, if you have friends also working in the field sharing
research information which is IN THE PUBLIC DOMAIN is either a covert
operation or an exercise in explaining the 10 hoops you have to jump through
to find info which needs to be balanced by supporting people who make public
domain material accessible because without them there wouldn't even be a
chance to jump through the hoops with the hope of finding any pot of
research gold at the end.

Then there is this really stupid rule that only the person who is bound to
the licensing agreement is the one who agrees to it.  The law says if
someone finds public domain material on the street, literally, this is what
the law says, then they can republish it however they want.  So, if I forgot
to pack up my CD of "The Needles Excellency"  legally obtained from the EEBO
after a renn fair (if I ever get around to going to one) then the person who
found it could legally copy, sell and redistribute it as they please even if
I can't.  This is not a good situation for anyone.  Unfortunately, I don't
have a better answer (yet :) for the situation but it gets to me sometimes.

Lisa Sinervo
www.thrednedlestrete.com




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Subject: [h-cost] outcome on Pattern reselling lawsuit
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Here's the word posted on my Professional Association of Custom Clothier's list -

"Bob Herman, president of McCalls Pattern Co., just called me (it's Bob, not 
Mr. Herman). He explained the whole situation between McCall's and monster 
patterns. The judge ruled that Monster patterns were in fact stolen merchandise 
and it was trademark infringement."

No doubt more news will be available soon.  I would have thought that something found in the garbage would have been abandoned property unless something shady was going on with monterpatterns and whoever was supposed to dump the patterns.  For my own interests, I like this ruling better than one saying posting an image of a patterncover for sale on e-bay is copyright infringement (which it probably is).

Lisa Sinervo
www.thrednedlestrete.com
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Date: Wed, 8 Oct 2003 10:05:43 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost]  	the difficulty in obtaining and sharing primary
 costuming sources - 	was lawsuit over reselling of commercial patterns
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Lisa wrote,

>Then there is this really stupid rule that only the person who is 
>bound to the licensing agreement is the one who agrees to it.  The 
>law says if someone finds public domain material on the street, 
>literally, this is what the law says, then they can republish it 
>however they want.  So, if I forgot to pack up my CD of "The Needles 
>Excellency"  legally obtained from the EEBO after a renn fair (if I 
>ever get around to going to one) then the person who found it could 
>legally copy, sell and redistribute it as they please even if I 
>can't.  This is not a good situation for anyone.  Unfortunately, I 
>don't have a better answer (yet :) for the situation but it gets to 
>me sometimes.

      Well, no, because the CD version is not public domain.  It's a 
new publication.

      -Carol
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From h-costume-bounces@indra.com  Wed Oct  8 10:26:44 2003
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Date: Wed, 8 Oct 2003 09:21:59 -0500 (CDT)
Subject: Re: [h-cost] Overstock.com Finds (books, that is)
From: "Chiara" <chiara@io.com>
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Both those books have been forever out of print. It is good to see them
finally back into production. They are very good books. :)

Chiara

> So, I wanted bargain books.  I typed "costuming" into Overstock.com's
> search  page.  Lo and behold..I found four pages of stuff!  A good deal
> of it is  children's books- Gus and Grandpa's halloween, and such.
> However, I did find:
>
> The Costume Designer's Handbook at $19.39
> The Costume Technician's Handbook at $28.69
>
> Both of these are selling for (according to Overstock) less than at
> Amazon.com.  Dunno if I need these, but they might be helpful to
> someone!
>
> Christine
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Here's the word posted on my Professional Association of Custom Clothier's list -

No doubt more news will be available soon.  I would have thought that something found in the garbage would have been abandoned property unless something shady was going on with monterpatterns and whoever was supposed to dump the patterns.  

--------------------------------------------------------------------------------

Actually, stolen property is stolen property.   Possession of stolen property is illegal, regardless if you know that something is stolen or not.  Otherwise, I think a lot of criminals would claim they "found" something with caught with something they acquired through theft.
cyn
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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Subject: [h-cost] Robertson  was old tartan 
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http://www.tartans.scotland.net/tartan_info.cfm?tartan_id=1946

I kind of like the Robertson of Struan.



 --- Joe Robertson <joedr@charter.net> wrote: > Here's
one to laugh about. Check out the Ogilvie
> sett. Seriously, have a
> peak at Robertson red ancient. It is still bright
> without being
> "analine" bright. It was suggested to me not because
> it was a Robertson
> sett, but because it was unrecognizable and fairly
> simple.
> Joe
> ---
> Joe Robertson, Psy.D.
> _______________________________________________
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=====
Aurum peccamenes multifariam texit

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost]  	the difficulty in obtaining and sharing primary
	costuming sources - 	was lawsuit over reselling of commercial patterns
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A facsimile of a work already the public domain does not create copyrights,
downloads from the EEBO are facsimiles of the original works and they are
not copyrightable.  Gotta run to work or I'd site you the case.  Nor does
putting in into a different font.

Lisa Sinervo


----- Original Message -----
From: "Carol Kocian" <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 7:05 AM
Subject: Re: [h-cost] the difficulty in obtaining and sharing primary
costuming sources - was lawsuit over reselling of commercial patterns


> Lisa wrote,
>
> >Then there is this really stupid rule that only the person who is
> >bound to the licensing agreement is the one who agrees to it.  The
> >law says if someone finds public domain material on the street,
> >literally, this is what the law says, then they can republish it
> >however they want.  So, if I forgot to pack up my CD of "The Needles
> >Excellency"  legally obtained from the EEBO after a renn fair (if I
> >ever get around to going to one) then the person who found it could
> >legally copy, sell and redistribute it as they please even if I
> >can't.  This is not a good situation for anyone.  Unfortunately, I
> >don't have a better answer (yet :) for the situation but it gets to
> >me sometimes.
>
>       Well, no, because the CD version is not public domain.  It's a
> new publication.
>
>       -Carol
> _______________________________________________
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> h-costume@mail.indra.com
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On Wed, 8 Oct 2003 09:22:49 -0500 "Cyn Bucheger" <cbucheger@paclp.com>
writes:
> Here's the word posted on my Professional Association of Custom 
> Clothier's list -
> 
> No doubt more news will be available soon.  I would have thought 
> that something found in the garbage would have been abandoned 
> property unless something shady was going on with monterpatterns and 
> whoever was supposed to dump the patterns.  
> 
>
-------------------------------------------------------------------------
-------
> 
> Actually, stolen property is stolen property.   Possession of stolen 
> property is illegal, regardless if you know that something is stolen 
> or not.  Otherwise, I think a lot of criminals would claim they 
> "found" something with caught with something they acquired through 
> theft.
> cyn


        I haven't read the original article yet (I did save it to read it
when I have the chance), but I use to work in a fabric department, and
when we would go through the patterns and take out the old ones, we'd
have to mark them off, and actually have a manager meet the department
supervisor at the compactor.  They all had to sign off on the fact that
they were "destroyed", although, if anyone knew where the refuse from
that business was taken, you could have gone to the site and possibly
gotten in to search, although they are frowning on that anymore these
days.  If the companies don't want things like this to happen, then they
need to have the patterns removed from the envelopes and pay for the
return of the envelopes.  That would be a deterent.  I don't know.  I
just know what we were doing with the patterns when the time came.

Astrid
Never argue with a dragon, for thou art crunchy and go well with Brie.
    http://www.geocities.com/tul_juriss - for links to ALL my current
sites
    http://www.geocities.com/astridofthehorde - costumes I've made
    http://www.geocities.com/house_qul_mupwi - The noble Klingon House
    http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
Guild

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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] outcome on Pattern reselling lawsuit
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Cyn Bucheger <cbucheger@paclp.com> wrote:
>Actually, stolen property is stolen property.   Possession of stolen property 
>is illegal, regardless if you know that something is stolen or not.  Otherwise, 
>I think a lot of criminals would claim they "found" something when caught 
>with something they acquired through theft.

And I believe that legally, things thrown into a container provided by the trash hauler (i.e. a dumpster) have become the property of the dumpster's owner -- so removing something from a dumpster is, indeed, theft. 

(Though I expect that re-selling such items is the major issue in this case, and more likely to attract active prosecution than, say, removing something and using it personally.)

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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Subject: Re: [h-cost]"trash diving" ruling tangent to:  outcome on Pattern
	reselling lawsuit
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Here's a recent ruling which has some background about other (USA) rulings:

The New Hampshire Supreme Court ruled that garbage is private, even when 
it has been put out near the street for collection.

The 4-1 decision runs counter to rulings by the U.S. Supreme Court and 
high courts in most other states. But the court said New Hampshire's 
constitution provides a stronger expectation of privacy than the U.S. 
Constitution.

More at:

http://apnews.excite.com/article/20030929/D7TSA95G1.html
-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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Subject: [h-cost] MDRF meetup
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Greetings, all!

So far, there are 4-ish of us who will be at MDRF on 10/18-19.

We're meeting at 1:30 PM Saturday, October 18, at the White Hart Inn.

Don't know about a Big Red M or a Big Red H...maybe, if I have time.  
(yeah, right.)

Yippie!

Allison P.

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	costuming sources -	was lawsuit over reselling of commercial patterns
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>But if one is working with in the field of 16th century costuming as I am,
>there are certain specific resources needed and one cannot substitute, nor
>can one buy the original copy of "The Needle's Excellency" to get out of
>entering into a licensing agreement for a work that is already IN THE PUBLIC
>DOMAIN.
>
If  you sign a licensing agreement it is voluntary, and it is not 
unreasonable to expect people to fulfill their signed agreements.  It is 
perfectly legal to set up a licensing agreement, and this has nothing to 
do with whether what is being licensed is in the public domain or not.

>Then it takes a huge expenditure of time and money to
>obtain them, an impossible task if one is not fairly devoted or if on a tiny
>budget.  
>
There is no law that says you have a right to get everything you want 
easily and cheaply.  It doesn't matter how much you need it.  It's like, 
there's no law that says you automatically get a 3-bedroom home of your 
own even though you demonstrably need it. It's the same with books.

>The law says if
>someone finds public domain material on the street, literally, this is what
>the law says, then they can republish it however they want.  So, if I forgot
>to pack up my CD of "The Needles Excellency"  legally obtained from the EEBO
>after a renn fair (if I ever get around to going to one) then the person who
>found it could legally copy, sell and redistribute it as they please even if
>I can't.  
>
There is also the question of whether their CD copy is in the public 
domain. It strikes me that you are looking for loopholes.

I've been doing costume research for about 30 years.  I look for old 
original publications regularly, and I spend the money on them. I know 
that if I look diligently enough for particular items and keep my eye on 
the market, I can find things I've never heard of anywhere, and others I 
thought could not possibly be available on the open market. And of 
course, I too can sign up for, or use in a library, online ebooks.  I 
can also buy any printed reprints or new editions.  I don't invite 
people to visit my personal library, and I don't post to h-costume 
whenever I buy a book (who would care?).  I'm just saying this so you 
won't make assumptions about what is in my library, and assert it's all 
easy-to-find material on the basis of those assumptions.

But I'm a  longterm collector, and I'm in the publishing business, and 
I'm just not seeing all these problems.  So it's hard to track down 
books, and expensive to buy them?  That's the breaks. So sometimes I 
can't use material exactly the way I want because someone else has 
proprietary rights to a physical copy, or copyrights to their own 
changes or database?  That's the breaks.  It's all part of doing 
original research.  Nobody said it was easy.

And if someone else has put books online or reprinted physical copies, 
you can hardly say that material is unavailable to the world.  Why not 
just reprint something else, or write something of your own?  Contribute 
something new to the world?

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Date: Wed, 08 Oct 2003 11:30:45 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Kid leather for binding corsets?
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>I didn't buy kid leather for my binding, I got chamois leather.  Thin,
>flexible, washable.  Didn't come in anything except "leather" color,
>though. ;-(

> > Hi all, I know some of you have used kid leather to bind the edges of your
> > corsets.  Where do you get your leather from.  (US suppliers.I guess Canada
> > is fine as well)

If chamois will do, go to a car parts store.  They sell pieces of 
chamois-like actual leather for polishing cars like when you're waxing 
them.  Look for real leather, not just something that says chamois on the 
label.  It only comes in a sort of pinkish straw-colour.  I made a pair of 
gloves out of this stuff once, and they were nice and soft, but thicker 
than real kid.

For real kid, or the equivalent, I'd look for Tandy Leather online, and get 
their thinnest lining leather - skiver?  I got a few hides of this, or 
maybe real kid, I'm not sure, when they closed all their physical 
stores.  I haven't made gloves out of it yet.  I will, since I have very 
wide hands for a woman, and can never find kid gloves to fit at thrift stores.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Circle skirts...
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>What waffenrock patterns/extant garments are these? I've only ever seen the
>one in Blanche Payne's book which is cut in one (or two, I never did figure
>out if it was on the fold or what.)

There's a photo of one of these in Davenport.  IIRC, it clearly shows 
stitching to hold padded pleats together.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: Re: [h-cost] outcome on Pattern reselling lawsuit
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>No doubt more news will be available soon.  I would have thought that 
>something found in the garbage would have been abandoned property unless 
>something shady was going on with monterpatterns and whoever was supposed 
>to dump the patterns.  For my own interests, I like this ruling better 
>than one saying posting an image of a patterncover for sale on e-bay is 
>copyright infringement (which it probably is).

As far as I know, your trash is considered your property till the official 
trash people take it away.  (In my area all the trash cans actually belong 
to the city, and the city picks up the trash.  Don't know about 
dumpsters.)  I think Federal agents need search warrants to go sifting thru 
your trash if they think you're doing illegal things.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Date: Wed, 8 Oct 2003 19:54:10 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Old tartan
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 <5.2.1.1.2.20031007084136.00b64880@postoffice8.mail.cornell.edu>
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M Stewart <ms154@cornell.edu> wrote
>
>Greetings Joe...   or Ceid Mille Failche...
>
>I take it you are looking for 16th century tartan patterns... well...I 
>hate to tell you but tartan as we know it today is not a 16th century 
>critter.  The registered tartan setts that denote a family by a 
>specific weave of colours is a Victorian thang... sorry.
>
>Now that's not to say that specific areas, or families didn't have 
>patterns that were specific to them,  made from local dyes etc.
>As I know samples of fabric were recovered from Culloden,  which 
>occurred in 1746.   None of them are woven in the setts prescribed by 
>today's tartan,  and many of them are simply checks, or solid fabrics.
>
Allan Ramsay painted Flora MacDonald in 1749, wearing a red tartan sash. 
It's distinctly tartan, with broad and narrow stripes in both directions 
- it looks a lot like Royal Stuart, in fact.

Jean
-- 
Jean Waddie
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Subject: [h-cost] Clouet painting
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Hi all

I was wondering if anyone recognizes this painting from eBay? It is 
supposed to be from Jean Clouet.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3557555593&ssPageName=ADME:B:SS:US:1

It looks interesting to me, but the image isn't large enough for me to 
determine details. I was hoping someone might recognize it and know where I 
might find another, better image of the painting, preferably online?

And they have it from Jean Clouet who died according to them in 1541. 
However, she is wearing a neck ruff. Is it possible she is actually from 
Francis Clouet? French paintings is not my strong suit.

TIA

Kimiko

Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Kimiko Small wrote:

> Hi all
> 
> I was wondering if anyone recognizes this painting from eBay? It is 
> supposed to be from Jean Clouet.
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3557555593&ssPageName=ADME:B:SS:US:1 
> 

I found this blurb:

*Clouet, Francois
(Imitator of)
French, before 1522-1572
Portrait of Elizabeth of Austria, Wife of King
Charles IX
c. 1570
Oil on panel
14 1/8 x 10 3/8 in.
(36 x 26.3 cm)
1951.317


here: www.artic.edu/aic/provenance/ ProvPaint/Paint_C3.htm

I think the site is saying it's in the collection of the Art Institute 
of Chicago.



Dawn



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Organization: Medieval Hats: http://www.virtue.to
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Subject: [h-cost] OT? Lace judge's jabots UK
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Hi Folks,

I don't know if this is a historical thing or not.  The lady found me 
via my webpage; please drop me a note if you've got a suggestion.  Thanks!

-------- Original Message --------


Question -- do you have a pattern for making a lace jabot such as the
British folk wear (or wore) with their robes and wigs?

We have a friend & co-worker who just became a judge, and we are trying
to furnish her with all the trappings (without spending a fortune!)


-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Kid leather for binding corsets?
Date: Wed, 8 Oct 2003 13:08:34 -0700
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Were you able to get the chamois in its natural color...most of the ones I
have seen are dyed a sort of golden brown which bleeds...?


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Subject: RE: [h-cost] Kid leather for binding corsets?
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There is no single color, they all very in shades of light brown. I guess
if you squint real hard it could be a gold yellow color. ;)

Mine have never bled, why would they sell it for washing and buffing cars
if it were dyed? That would defeat the purpose of cleaing the car to get
dye on it from the wipe.

Chiara

> Were you able to get the chamois in its natural color...most of the ones
> I have seen are dyed a sort of golden brown which bleeds...?
>
>
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Wed Oct  8 16:57:54 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <5.2.1.1.0.20031008114526.00b09de0@64.87.54.245>
Subject: Re: [h-cost] Clouet painting
Date: Wed, 8 Oct 2003 22:44:56 +0200
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Status: RO

Hi Kimiko.
I belive this is a real Clouet painting.The hairstyle is right and i think i
have seen her face before, but not with this black costume. I have seen
other Clouet paintings, but this is the first i have seen with a black
costume, so i could not lead you to where to find a better image.
There are some costume books, wich has a lot of Clouet portraits, but alas i
have forgot wich book. It was one i found at a library once.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 8:54 PM
Subject: [h-cost] Clouet painting


> Hi all
>
> I was wondering if anyone recognizes this painting from eBay? It is
> supposed to be from Jean Clouet.
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3557555593&ssPageName=ADM
E:B:SS:US:1
>
> It looks interesting to me, but the image isn't large enough for me to
> determine details. I was hoping someone might recognize it and know where
I
> might find another, better image of the painting, preferably online?
>
> And they have it from Jean Clouet who died according to them in 1541.
> However, she is wearing a neck ruff. Is it possible she is actually from
> Francis Clouet? French paintings is not my strong suit.
>
> TIA
>
> Kimiko
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
> _______________________________________________
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>


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From h-costume-bounces@indra.com  Wed Oct  8 17:04:46 2003
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Date: Wed, 08 Oct 2003 15:54:51 -0500
From: Joe Robertson <joedr@charter.net>
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   I'm not sure that particular sett is available anymore, although it
is pretty. At least it's not one of the recognized setts today. I have
seen it before online in various databases.
   Today's Robertson of Struan is the personal tartan of our chief and
his family, and it would be in bad taste to use it. It looks just like
Robertson red (modern, ancient or muted), but with a white line through
it. I'm unfamiliar with the origin of the sample you linked me to. 
   I'm with you on this. I feel that the tartan you illustrated would
make a fine brat, as long as the colours weren't flaming intense. The
sample is old, so it may not be made anymore.  
Joe
---
Joe Robertson, Psy.D.
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Subject: Re: [h-cost] italian renn job - off topic
Date: Wed, 8 Oct 2003 14:33:01 -0700
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Status: RO

It wasn't actually the casino.  The owner was allegedly having a private
party for 400 of his closest friends in Florida in November.  I was pretty
much 85% this will never happen, but didn't think I should blow the agent
off, just in case.

But no big surprise that as soon as I got specific, she/they got
"disappeary!"  Client was in Venice, and yadda yadda.

angela
+++++
Angela F. Lazear
Cabbage Rose Costumes
Theatrical Costume Design
"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

http://www.cabbagerosecostumes.com
----- Original Message ----- 
From: "michael tartaglio" <mikes@dandy.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 4:41 AM
Subject: Re: [h-cost] italian renn job - off topic


> Hi, All. As a person that works in a casino-hotel in Atlantic City, and
> works closely with the Marketing/Banquets/Special Events Depts., I would
> guess that this person was running with a half-baked idea that they got
> from their boss, which was in turn dreamt up in some executive meeting.
> The execs usually have a meeting every week, and seek to be encouraged
> to free-form ideas that aren't necessarily practical. I can't tell you
> how many times a really impractical (and sometimes just plain hilarious)
> idea has been sent down to us to see if we could do it. We usually
> respond by saying "Of course we can do this, but it will cost you $$$",
> which usually puts out their ardour rather nicely. They love pretty
> things, but are usually loathe to pay for them. BTW, I hadn't heard that
> this was a casino, or I'd have warned you. The one department (Special
> Events, usually) takes, but the other (Purchasing) that gives (your
> payment), is notoriously slow. You might, if lucky, get paid in 3
> months. Sometimes, they also get quotes from a number of people as a way

> to force a business they already plan on dealing with to lower their
> spec. on a job. Another problem is that sometimes an executive's spouse
> is hired by the company as the head of Special Events/Banquets,
> assumedly because they know how to throw a good party/know who to call
> for catering, etc. Not only can they do no wrong, but they are usually
> clueless, and have no people skills to speak of...  Mike T. speaking
> from years of experience  PS All this said, Steve Wynn is still probably
> one of the more trustworthy names to work for, he will respond directly
> to problems/complaints, and *is* a real people person.
>
> angelalazear wrote:
>
> >Sorry to send this to the full list, but there were so many responses I
> >wanted to get the information out right away, and was afraid I might not
> >have kept a complete list of those who responded.  Lisa Sinervo, if you'd
> >post to your list as well, this way everyone will be sure to get the
info.
> >
> >The lady from the Bellagio has not responded to my last three emails as
of
> >this morning.  She was either shooting off her mouth with no info, or has
> >apparently changed her mind, or has no concept of the magnitude of the
> >project.  I am going to say at this point that her offer was not fully
> >informed and that there probably isn't a genuine interest on the part of
> >Steve Wynn or his agents to get this project completed.
> >
> >So sorry to have wasted any of your time, but will defnitely keep your
names
> >for future projects as they arise, should they be genuine.
> >
> >angela
> >+++++
> >Angela F. Lazear
> >Cabbage Rose Costumes
> >Theatrical Costume Design
> >"Love all, trust a few, do wrong to none:
> >be able for thine enemy rather in power than use,
> >and keep thy friend under thy own life's key:
> >be checked for silence, but never taxed for speech..."
> >W. Shakespeare
> >
> >http://www.cabbagerosecostumes.com
> >
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
>
> _______________________________________________
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] OT? Lace judge's jabots UK
Date: Wed, 8 Oct 2003 15:12:08 -0700
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I guess it depends...I found this picture:
http://www.scotchcorner.com/accessories-shirt-jabot.html

I have a pattern for one that is spiral, sort of like a sectioned seashell
if you will.  It is cut like that and then straightened out to attach down
the front of a shirt...if it is like the ones above, I am sorry I don't
but..it wouldn't be too hard to figure out one.

You can put her in touch with me if you like and I can draft a pattern for
one...
Sg

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Subject: Re: [h-cost] Repro jewelry -- Roman, Viking, Medieval
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Mara Riley wrote:

>Just stumbled across this site:
>
>http://www.northerner.com/historical_jewelry.html
>
>  
>
The history glass section of the site is also wonderful

liz young



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From: "Janet Davis" <castle@erie.net>
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Subject: [h-cost] Fw: [SCA-AE] Fw: Artssciences Digest, Vol 5, Issue 7
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This was just forwarded to the Aethelmearc list today and it seemed very
relevent to the researching of obscure topics and the availability of free
information over the internet.  I tried a search on "16th century clothes"
and while there some very silly entries came back, there were dozens of
books that I'd never heard of that sounded useful.  The main problem is
that, while it will tell you if your local library has it (of course it
doesn't) it doesn't tell you what library does have it.  The "search online
booksellers" is useless, as it only searches Amazon.  Still, I have a whole
new collection of titles that I'll be on the lookout for.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com


> Hi All. Wanted to forward this message from the ArtsSciences list on easy
> research through RedLightGreen, a Union catalog for book searches listing
> the most important/popular works in a given topic.
>
> Enjoy
>
> Aoife
>
> >
> > Take a look at this one:
> >
> > Search Page for RedLightGreen
> >
<http://www.redlightgreen.com/ucwprod/servlet/ucw.servlets.UCWController?
> > USERID=anonymous&PASSWORD=------&ACTION=logon&SRCHPATH=3>
> >
> > A shorter URL for RedLightGreen Search Interface
> > <http://snurl.com/2ijy>
> >
> > "RedLightGreen helps you locate the most important books and other
> > research materials in your area of interest, and find out whether what
you
> > need is available at your favorite library. Sign in, and you can format
> > and send citations any way you want: MLA, APA, Chicago, Turabian. Just
> > click - and it's done."
> >
> > ----------------
> >
> > "The immediate goal for RLG's "RedLightGreen" project (formerly known as
> > the Union Catalog on the Web) is to offer rich, reliable library
> > information that is unique in the Web environment and to deliver that
> > information in ways that meet the expectations of Web-savvy users."
> >
> > "RedLightGreen at a glance
> >
> > Goal: To help students find authoritative sources for research
> > information, by leveraging data contained within the RLG Union Catalog
> >
> > Intended users: Undergraduate students
> >
> > Interface: Publicly accessible Web site
> >
> > Underlying data: 126 million bibliographic records representing 42
> > million titles
> >
> > -- Pani Jadwiga Zajaczkowa, Knowledge Pika jenne@fiedlerfamily.net
> >  "in verbis et in herbis, et in lapidibus sunt virtutes"
> > (In words, and in plants, and in stones, there is power.)

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Clouet painting
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At 10:44 PM 10/8/2003 +0200, you wrote:
>Hi Kimiko.
>I belive this is a real Clouet painting.The hairstyle is right and i think i
>have seen her face before, but not with this black costume. I have seen
>other Clouet paintings, but this is the first i have seen with a black
>costume, so i could not lead you to where to find a better image.
>There are some costume books, wich has a lot of Clouet portraits, but alas i
>have forgot wich book. It was one i found at a library once.
>
>Bjarne


Thank you Bjarne for your comments. If you ever remember which books have 
good Clouet paintings, I would appreciate if you would post them. I am on 
the lookout for one.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Clouet painting
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At 02:38 PM 10/8/2003 -0500, you wrote:
>*Clouet, Francois
>(Imitator of)
>French, before 1522-1572
>Portrait of Elizabeth of Austria, Wife of King
>Charles IX
>c. 1570
>Oil on panel
>14 1/8 x 10 3/8 in.
>(36 x 26.3 cm)
>1951.317
>
>
>here: www.artic.edu/aic/provenance/ ProvPaint/Paint_C3.htm
>
>I think the site is saying it's in the collection of the Art Institute of 
>Chicago.
>
>
>
>Dawn


Thank you Dawn.

I thought she looked familiar, but I hadn't realized it was another 
painting of Elizabeth of Austria.

It seems the only images online are small, but it is a start to finding the 
larger image somewhere.

Kimiko



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Subject: Re: [h-cost] 	the difficulty in obtaining and sharing
	primarycostuming sources -	was lawsuit over reselling of commercial patterns
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> >The law says if
> >someone finds public domain material on the street, literally, this is
what
> >the law says, then they can republish it however they want.  So, if I
forgot
> >to pack up my CD of "The Needles Excellency"  legally obtained from the
EEBO
> >after a renn fair (if I ever get around to going to one) then the person
who
> >found it could legally copy, sell and redistribute it as they please even
if
> >I can't.
> >
> There is also the question of whether their CD copy is in the public
> domain. It strikes me that you are looking for loopholes.
>
Actually I'm just observing the state of copyright law and the loopholes
that I see as I know it.  I think it is bad for all parties currently when
it comes to the public domain.

Say for instance, I sign an agreement to download information off the EEBO,
and also visit museums who generously let me have access to all their
material provided I don't republish it.  And I adhere to these terms quite
willingly.  Over the years I download the entire EEBO, then, I get news that
hurricane Isabel is on it's way so I gather my CD collection, put it into a
locked trunk and put it onto the back of my pick up and try to get out of
town before the floods hit.  Unfortunately, in this scenario, my truck does
a roll over, I die, and my trunk with my entire CD collection of images out
of copyright and in the public domain float away down the road.  Next
morning, Miss Penelope Chalk steps out her front door and finds my trunk on
her lawn.  She reports it to the police, runs an ad in the newspaper but no
one claims it after 45 days and it's now her's to do as she pleases.  She's
not party to any licensing agreement and the material is not under
copyright.  She doesn't need to ask the owners of the original material for
access to the books because she already has copies.  Property rights are of
no value here because there is no need to access any one else's property.
She could now set up her own book selling service, probably quite legally
with little or no investment on her part much to the detriment of those who
paid for the books, microfilmed them and set up the online service.  That is
not a good situation for people currently running businesses using public
domain material at all.

This is a fairly risky proposition to be in when ones livelihood depends on
it in my opinion.  I see it from both sides.

Lisa Sinervo


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From h-costume-bounces@indra.com  Wed Oct  8 20:56:41 2003
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Actually there are probably more who just missed what was going on... but not many.

I'll be there both days.  Saturday I *might* be able to make it to the White Hart about 1:30... Keep in mind that that pub gets a bit crowded for Pyrate Royale shows (one is from 1-1:30) so it'll be easier to find folks afterwards.  Alternatively, plan a spot to meet (like by "Mannie the Stag"... though that's pretty busy some times... or at the first picnic table outside the White Hart on the 'food court side').  If I make it over there that day, I'll be wearing a green "Irish gown" (open down the front) with a brown underskirt, tea-dyed muslin chemise/leine.

Assuming that I get tied up chatting with folks coming into town for the wedding I'm going to there in the morning (good chance, all things considered) on the far side of the faire...  I'd love it if anyone could stop by and say hi/introduce themselves sometime during the afternoon on Sunday (goes for any Sunday this year) over at the "Living History Pavillion" ... also known as "The Guildyard".  I'll be one of those in yellow with black trim, and I usually am around there between 11:30 and 5:15 or so... Usually either sewing or doing embroidery/needlepoint, going by Mistress Mabel Ascomb.  If I'm not there, someone will know either where I am (can you say directing traffic at the privies? ... if it's crowded) or when I'll be back.

BTW, for those who are interested, usually there are several outfits down there that are at least based on Margo's Elizabethian patterns... and several of us are generally quite happy to chat about fashion... and history in general.


-Elisabeth  (aka Liz, aka "Mistress Mabel" ... I'll even turn around to 'cozit' on occasion :-)


Allison P. wrote:

>Greetings, all!
>
>So far, there are 4-ish of us who will be at MDRF on 10/18-19.
>
>We're meeting at 1:30 PM Saturday, October 18, at the White Hart Inn.
>
>Don't know about a Big Red M or a Big Red H...maybe, if I have time.  
>(yeah, right.)
>
>Yippie!
>
>Allison P.
>



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From h-costume-bounces@indra.com  Wed Oct  8 21:11:22 2003
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Subject: [h-cost] Elizabeth I Exhibit
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Last Monday, I was present at the opening of the Newberry Library's new
exhibit on the life of Elizabeth I. It is focused on the literary aspects
(go figure!), but there are some significant visual works as well. There
are two 16th century portraits of Elizabeth which are unfortunately both
black on black with black accents, but there are some interesting details
in the head wear and surroundings. The famous 'Funeral Scroll' is there
from the British Library which shows sketches of the order and persons
involved with Elizabeth's funeral. They have a letter from Lady Jane Grey
acknowledging Mary Tudor as rightful Queen, a few proclamations by Bess,
and some period part-singing books complete with recordings of what the
music would have sounded like. My favorite piece is an embroidered night
cap that has work so fine it almost made me cry. It is a level of quality
to aim for but probably never reach!

They are having a series of lectures in conjunction with the exhibit. If
any of you are going to be in Chicago during the next few months, it
might be worth a visit.


Twelfth Night- A Production From Shakespeare's Globe
November 26-December 14
An 'original practices' production of the play direct from London.

Rose Rage: Henry VI Parts 1, 2, & 3
September 18- January 18 2004
On a single day, all three parts of the play with dinner.

Both of these productions are at Chicago Shakespeare Theater on Navy
Pier.

Thursday October 23- 6pm
Did Maps Really Matter to Elizabeth?
Peter Barber of the British Library

Thursday November 13- 6pm
Elizabethan Privateering, Elizabethan Piracy
Robert C. Ritchie of the Huntington Library

Saturday November 22- 11am
Queen Elizabeth and Her Court
David Starkey of Cambridge University

Monday December 8 6pm (Chicago Shakespeare Theater)
Shakespeare Then: Exploring Original Practice at London's Globe
Discussion: Moderator David Bevington of the University of Chicago

Saturday December 13- 11am
Maneuvering By Mail: Elizabeth's Correspondence with James VI of Scotland
Janel Mueller of the University of Chicago

Saturday January 17-11am
Elizabeth I: New Knowledge, Old Mysteries
Clark Hulse of the University of Illinois at Chicago

For further information check out:

http://www.newberry.org/nl/newberryhome.html


No official affiliation, they just hired me to do Renaissance Dance!


Karen

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] outcome on Pattern reselling lawsuit
Date: Wed, 8 Oct 2003 21:51:06 -0400
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On Wednesday 08 October 2003 02:39 pm, Carolyn Kayta Barrows wrote:
> >No doubt more news will be available soon.  I would have thought that
> >something found in the garbage would have been abandoned property unless
> >something shady was going on with monterpatterns and whoever was supposed
> >to dump the patterns.  For my own interests, I like this ruling better
> >than one saying posting an image of a patterncover for sale on e-bay is
> >copyright infringement (which it probably is).
>
> As far as I know, your trash is considered your property till the official
> trash people take it away.  (In my area all the trash cans actually belong
> to the city, and the city picks up the trash.  Don't know about
> dumpsters.)  I think Federal agents need search warrants to go sifting thru
> your trash if they think you're doing illegal things.

That's my recollection from my exposure to search-and-seizure cases in law 
school.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] using commercial patterns for multiple people
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This question has come up a couple of times on this list although it is not strictly historical.  But for those of you using McCall's or their other branded patterns for more than one person and wondering if it was a breech of the licensing agreement, the word from Bob Herman, president of McCall's paraphrased is " If you don't ask technical 
questions, then you won't get a bad answer!".  This was given to a group of custom clothiers using the patterns for custom commercial work.  

Just thought I'd pass that on.

Lisa Sinervo
www.thrednedlestrete.com
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Okay, think of it this way... another story...

My nephew was in the Army in Iraq when they happened upon the ancient
Egyptian artifacts in one of the Palaces.... lots and lots of gold.  He was
allowed to take personal photos of the artifacts.  Now, the government of
Egypt wants all their ancient artifacts back... well known fact in the art
world.  This has been going on for years with Egyptian artifacts.  I can not
use these beautiful photos on my website.  Why? Because I do not have
permission from the rightful owners of the artwork... Egypt.  The Egyptian
artifacts were packed up and sent back to Egypt.

For those interested, the main piece of art I saw in the photos was a gold
inlay coffin like King Tut's second innermost coffin.  It was beautiful and
just glowed!  The craftsmanship in it was stunning.  I would have loved to
have seen it in person... but preferably in a museum.

Another thing to think about... there are many areas of Virginia where
important battles occurred....even in the rivers.  If you happen upon on of
these areas and find an artifact, you are supposed to turn the artifact over
to the state of Virginia.   Now, if you hand it over to the state, and they
decide that they don't want it, that is a whole different ballpark.

Now, in the case Lisa mentioned... the lady who would find the CD... the
rightful owner would still be the library.  Just because you find something,
and it is of true historical nature, it doesn't mean that you have the right
to keep it.

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


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Subject: [h-cost] Not exactly what you were looking for, but another Clouet
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I could have sworn I have seen the portrait in question and that I had seen
it either as a portrait of a Medici or Mary Queen of Scots.  But I have been
unable to find it as such, but I think you will find it VERY similar to the
first portrait here of  ELISABETH D'AUTRICHE (I assume that is Austria as
someone else has suggested).but in the process of looking I came across this
site which has several portraits I have never seen.  If you click here and
then be sure to click the box at the bottom which says "avec image" (oh and
you also must hit" rechereche ") you will get the series of Clouet
paintings.  The fourth one down I have never seen and it is quiet unique.

 

Very cool! 

 

 

http://www.culture.gouv.fr/public/mistral/joconde_fr?ACTION=AJOUT
<http://www.culture.gouv.fr/public/mistral/joconde_fr?ACTION=AJOUT&FIELD_1=A
UTR&VALUE_1=CLOUET%2520Fran%e7ois&REC_DOM=All&CHK_0=AUTR&INDEX_0=%27CLOUET%2
0FRANCOIS%27&LOCAT=&USRNAME=nobody&USRPWD=4%24%2534P>
&FIELD_1=AUTR&VALUE_1=CLOUET%2520Fran%e7ois&REC_DOM=All&CHK_0=AUTR&INDEX_0=%
27CLOUET%20FRANCOIS%27&LOCAT=&USRNAME=nobody&USRPWD=4%24%2534P

 

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Penny Ladnier wrote:
> I can not
> use these beautiful photos on my website.  Why? Because I do not have
> permission from the rightful owners of the artwork... Egypt.

Could you explain this more?  If you take a picture in (say) May and 
it's ok, and then the item you took a picture of is sold to someone else 
in June, then even in June it seems to me that your picture should still 
be yours to control, even if differently owned.

I would have imagined that the permission to photograph was on the order 
of a contract between the May owner and the photographer, and couldn't 
be changed with the June owner and the photographer by the sole action 
of the June owner, but only by joint agreement.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 7:22 PM
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns


> Okay, think of it this way... another story...
>
> My nephew was in the Army in Iraq when they happened upon the ancient
> Egyptian artifacts in one of the Palaces.... lots and lots of gold.  He
was
> allowed to take personal photos of the artifacts.  Now, the government of
> Egypt wants all their ancient artifacts back... well known fact in the art
> world.  This has been going on for years with Egyptian artifacts.  I can
not
> use these beautiful photos on my website.  Why? Because I do not have
> permission from the rightful owners of the artwork... Egypt.  The Egyptian
> artifacts were packed up and sent back to Egypt.
>
> For those interested, the main piece of art I saw in the photos was a gold
> inlay coffin like King Tut's second innermost coffin.  It was beautiful
and
> just glowed!  The craftsmanship in it was stunning.  I would have loved to
> have seen it in person... but preferably in a museum.
>
> Another thing to think about... there are many areas of Virginia where
> important battles occurred....even in the rivers.  If you happen upon on
of
> these areas and find an artifact, you are supposed to turn the artifact
over
> to the state of Virginia.   Now, if you hand it over to the state, and
they
> decide that they don't want it, that is a whole different ballpark.
>
> Now, in the case Lisa mentioned... the lady who would find the CD... the
> rightful owner would still be the library.  Just because you find
something,
> and it is of true historical nature, it doesn't mean that you have the
right
> to keep it.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
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Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
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Answered off list.

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

----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1081221320.9de5c0@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 11:08 PM
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns



> Could you explain this more?  If you take a picture in (say) May and
> it's ok, and then the item you took a picture of is sold to someone else
> in June, then even in June it seems to me that your picture should still
> be yours to control, even if differently owned.


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Penny wrote:
>
> Now, in the case Lisa mentioned... the lady who would find the CD... the
> rightful owner would still be the library.  Just because you find
something,
> and it is of true historical nature, it doesn't mean that you have the
right
> to keep it.
>
 Well Penny, all I can say is may the confidence you have in this view give
you peace, and I pray you never end up being a test case either!!

Lisa Sinervo


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <028101c38e0c$39cd1840$0400a8c0@comcast.net>
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns
Date: Wed, 8 Oct 2003 20:37:39 -0700
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----- Original Message -----
From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Sent: Wednesday, October 08, 2003 7:22 PM
Subject: Re: [h-cost] Lawsuit over the reselling of commercial patterns


> Okay, think of it this way... another story...
>
> My nephew was in the Army in Iraq when they happened upon the ancient
> Egyptian artifacts in one of the Palaces.... lots and lots of gold.  He
was
> allowed to take personal photos of the artifacts.  Now, the government of
> Egypt wants all their ancient artifacts back... well known fact in the art
> world.  This has been going on for years with Egyptian artifacts.  I can
not
> use these beautiful photos on my website.  Why? Because I do not have
> permission from the rightful owners of the artwork... Egypt.  The Egyptian
> artifacts were packed up and sent back to Egypt.
>
> For those interested, the main piece of art I saw in the photos was a gold
> inlay coffin like King Tut's second innermost coffin.  It was beautiful
and
> just glowed!  The craftsmanship in it was stunning.  I would have loved to
> have seen it in person... but preferably in a museum.
>
> Another thing to think about... there are many areas of Virginia where
> important battles occurred....even in the rivers.  If you happen upon on
of
> these areas and find an artifact, you are supposed to turn the artifact
over
> to the state of Virginia.   Now, if you hand it over to the state, and
they
> decide that they don't want it, that is a whole different ballpark.
>
> Now, in the case Lisa mentioned... the lady who would find the CD... the
> rightful owner would still be the library.  Just because you find
something,
> and it is of true historical nature, it doesn't mean that you have the
right
> to keep it.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Wed Oct  8 23:59:00 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Fw: [SCA-AE] Fw: Artssciences Digest, Vol 5, Issue 7
Date: Wed, 8 Oct 2003 20:59:35 -0700
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If your library allows you to access WorldCat you can do a search on that,
and there is a page that shows what libraries hold copies of the book.  The
one here at Multnomah county library usually lists the ones closest to
Portland, Oregon first.  It's very satisfying to see the number of things I
want that live down at the Portland State University library.  Rather than
pay their $180 non student fee, I just ILL things.

Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Janet Davis
> Sent: Wednesday, October 08, 2003 4:10 PM
> To: h-costume@indra.com
> Subject: [h-cost] Fw: [SCA-AE] Fw: Artssciences Digest, Vol 5, Issue 7
>
>
> This was just forwarded to the Aethelmearc list today and it seemed very
> relevent to the researching of obscure topics and the availability of free
> information over the internet.  I tried a search on "16th century clothes"
> and while there some very silly entries came back, there were dozens of
> books that I'd never heard of that sounded useful.  The main problem is
> that, while it will tell you if your local library has it (of course it
> doesn't) it doesn't tell you what library does have it.  The
> "search online
> booksellers" is useless, as it only searches Amazon.  Still, I
> have a whole
> new collection of titles that I'll be on the lookout for.
>
> Janet
>
> Janet Davis
> Castle Furnishings
> http://www.medievalbookstore.com
>
>
> > Hi All. Wanted to forward this message from the ArtsSciences
> list on easy
> > research through RedLightGreen, a Union catalog for book
> searches listing
> > the most important/popular works in a given topic.
> >
> > Enjoy
> >
> > Aoife
> >
> > >
> > > Take a look at this one:
> > >
> > > Search Page for RedLightGreen
> > >
> <http://www.redlightgreen.com/ucwprod/servlet/ucw.servlets.UCWController?
> > > USERID=anonymous&PASSWORD=------&ACTION=logon&SRCHPATH=3>
> > >
> > > A shorter URL for RedLightGreen Search Interface
> > > <http://snurl.com/2ijy>
> > >
> > > "RedLightGreen helps you locate the most important books and other
> > > research materials in your area of interest, and find out whether what
> you
> > > need is available at your favorite library. Sign in, and you
> can format
> > > and send citations any way you want: MLA, APA, Chicago, Turabian. Just
> > > click - and it's done."
> > >
> > > ----------------
> > >
> > > "The immediate goal for RLG's "RedLightGreen" project
> (formerly known as
> > > the Union Catalog on the Web) is to offer rich, reliable library
> > > information that is unique in the Web environment and to deliver that
> > > information in ways that meet the expectations of Web-savvy users."
> > >
> > > "RedLightGreen at a glance
> > >
> > > Goal: To help students find authoritative sources for research
> > > information, by leveraging data contained within the RLG Union Catalog
> > >
> > > Intended users: Undergraduate students
> > >
> > > Interface: Publicly accessible Web site
> > >
> > > Underlying data: 126 million bibliographic records representing 42
> > > million titles
> > >
> > > -- Pani Jadwiga Zajaczkowa, Knowledge Pika jenne@fiedlerfamily.net
> > >  "in verbis et in herbis, et in lapidibus sunt virtutes"
> > > (In words, and in plants, and in stones, there is power.)
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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kat@grendal.rain.com wrote:

>>Regina
>>P.S.  Did you know that a town in France, Perpignan where they wove
>>stretchy fabric in the 14th Century for making hose?  Got to write her
>>and ask questions!)
>>    
>>
I'm a bit late here, but -- stretch in fabrics can often be accomplished 
by the spinning of the yarn. That is, yarn that is intentionally 
overtwisted will create a fabric (woven, knit, etc) that is elastic.

Cecilia


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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Not exactly what you were looking for, but  another
	Clouet
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At 07:22 PM 10/8/2003 -0700, you wrote:
>but in the process of looking I came across this
>site which has several portraits I have never seen.


Oh, thank you very much. My French is rusty (since '84 when I had French 
last), but the images are wonderful.

Very cool indeed. Thanks!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Date: Wed, 08 Oct 2003 23:50:08 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Elizabeth I Exhibit
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At 07:59 PM 10/8/2003 -0500, you wrote:
>They are having a series of lectures in conjunction with the exhibit. If
>any of you are going to be in Chicago during the next few months, it
>might be worth a visit.


This sounds so wonderful. I so wish I could go to Chicago. Anyone want to 
send me a free plane ticket and a place to stay?  ;-)

Seriously, will there be any exhibit book, or Internet site of the exhibit 
that would provide images we can at least drool over?

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: elizabeth hervey <emhervey@yahoo.com>
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Subject: [h-cost] Re: Victorian dress on "Antiques Roadshow"
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I saw it too. She said the silk's British, its all handsewn and it was worn by a *very grand lady*. A *museum quality dress* in her view. She valued it as in mint condition for £800 -£1000. BTW that's insurance not what you get for selling it. Selling prices are lots less than insurance. 

Bunny Campion's not a qualified costume expert. The skirt didn't look rightly sewn to the waistband and the waistband's brilliant white so it can't be period to the dress (late 1850's). I guess the waist was totally resewn in the last 50 years. The silk's expensive but could be French. The trimming prolly was handsewn but long seams might be machine sewn. This is very period and I do it with my costumes now I don't get time between hospital and stupid bank. Also the skirt's not wide enough to be a very grand lady's dress of the period. A grand lady wouldn't buy expensive silk but not buy enough for the skirt. IMHO more likely Sunday best for a bourgois woman.

The alterations mean this wasn't mint condition. There's no *mint condition for its age* as internet costume sellers say. Either its mint or not mint. There's no way this is museum quality except as a silk textile not as costume.

The valueation's way too high. £500-600 at the most for insurance. The only places I've seen resewn bourgois dresses sold as grand ladies dress for more is on the internet. There was a beaded flapper dress on the programme some weeks back they overpriced. That wasn't a qualified costume expert either. I think the programme should get a costume expert to value costumes not a toy and misellania expert.

Sorry to go ranty that's just my 2 cents.

Kind Regards,

Elizabeth/Bess

Subject: Re: [h-cost] Victorian dress on "Antiques Roadshow"

To: <h-costume@indra.com>

Message-ID: <sf83d3f6.083@CSV6.derby.ac.uk>

Content-Type: text/plain; charset=US-ASCII

Kate Bunting

Library, University of Derby

>>> cvirtue+dated+1081123770.b9fa76@thibault.org 10/07/03 10:37pm >>>

Kate M Bunting wrote:

>> Any Victoriana fans in the UK see "Antiques Roadshow" last night?

>> Someone produced an 1860s bodice and skirt which a friend had

>>passed on to them when she moved to a smaller house. It was in salmon

>>pink and silver - a bit insipid for my taste, but the condition of the

>>garments was amazingly good.

>How much did they price it at? I've got a few things in very good 

>condition that were in the family....

I can't remember for certain (cynics say that viewers are only

interested in the prices, but I watch it for the human interest!) I

think it was getting on for 1000 pounds, though.


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I saw it too. She said the silk's British, its all handsewn and it was worn by a *very grand lady*. A *museum quality dress* in her view. She valued it as in mint condition for £800 -£1000. BTW that's insurance not what you get for selling it. Selling prices are lots less than insurance. 

Bunny Campion's not a qualified costume expert. The skirt didn't look rightly sewn to the waistband and the waistband's brilliant white so it can't be period to the dress (late 1850's). I guess the waist was totally resewn in the last 50 years. The silk's expensive but could be French. The trimming prolly was handsewn but long seams might be machine sewn. This is very period and I do it with my costumes now I don't get time between hospital and stupid bank. Also the skirt's not wide enough to be a very grand lady's dress of the period. A grand lady wouldn't buy expensive silk but not buy enough for the skirt. IMHO more likely Sunday best for a bourgois woman.

The alterations mean this wasn't mint condition. There's no *mint condition for its age* as internet costume sellers say. Either its mint or not mint. There's no way this is museum quality except as a silk textile not as costume.

The valueation's way too high. £500-600 at the most for insurance. The only places I've seen resewn bourgois dresses sold as grand ladies dress for more is on the internet. There was a beaded flapper dress on the programme some weeks back they overpriced. That wasn't a qualified costume expert either. I think the programme should get a costume expert to value costumes not a toy and misellania expert.

Sorry to go ranty that's just my 2 cents.

Kind Regards,

Elizabeth/Bess

Subject: Re: [h-cost] Victorian dress on "Antiques Roadshow"

To: <h-costume@indra.com>

Message-ID: <sf83d3f6.083@CSV6.derby.ac.uk>

Content-Type: text/plain; charset=US-ASCII

Kate Bunting

Library, University of Derby

>>> cvirtue+dated+1081123770.b9fa76@thibault.org 10/07/03 10:37pm >>>

Kate M Bunting wrote:

>> Any Victoriana fans in the UK see "Antiques Roadshow" last night?

>> Someone produced an 1860s bodice and skirt which a friend had

>>passed on to them when she moved to a smaller house. It was in salmon

>>pink and silver - a bit insipid for my taste, but the condition of the

>>garments was amazingly good.

>How much did they price it at? I've got a few things in very good 

>condition that were in the family....

I can't remember for certain (cynics say that viewers are only

interested in the prices, but I watch it for the human interest!) I

think it was getting on for 1000 pounds, though.




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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Elizabeth I Exhibit
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Isn't this the exhibit that will be touring 40 libraries in the US, once
it leaves the Newberry?  Or is that a different Elizabeth I Library
exhibit?

Drea


On Wed, 8 Oct 2003, Kimiko Small wrote:

> At 07:59 PM 10/8/2003 -0500, you wrote:
> >They are having a series of lectures in conjunction with the exhibit. If
> >any of you are going to be in Chicago during the next few months, it
> >might be worth a visit.
>
>
> This sounds so wonderful. I so wish I could go to Chicago. Anyone want to
> send me a free plane ticket and a place to stay?  ;-)
>
> Seriously, will there be any exhibit book, or Internet site of the exhibit
> that would provide images we can at least drool over?
>
> Kimiko
>
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
> _______________________________________________
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Date: Thu, 9 Oct 2003 14:42:50 +0100 (BST)
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Subject: [h-cost] Modern rules was Robertson tartan
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It's interesting how modern restrictions have grown up
around Tartans. Irvine, one of the oldest clans in
existence (Duncan Eryvine)probably didn't have a
Tartan until late nineteenth century. At least that's
the earliest documented, but the Chief, Baron David
wears Forbes. 



>    Today's Robertson of Struan is the personal
> tartan of our chief and
> his family, and it would be in bad taste to use it.
> It looks just like
> Robertson red (modern, ancient or muted), but with a
> white line through
> it. I'm unfamiliar with the origin of the sample you
> linked me to. 
>    I'm with you on this. I feel that the tartan you
> illustrated would
> make a fine brat, as long as the colours weren't
> flaming intense. The
> sample is old, so it may not be made anymore.  
> Joe
> ---
> Joe Robertson, Psy.D.
> _______________________________________________
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=====
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Subject: [h-cost] Clouet Painting on ebay.
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"This beautiful on-canvas reproduction sells in a
national catalog for $509. and was made in the studios
of The Masters' Collection, the leader in producing
replicas of the world's great art. This reproduction
captures the texture, depth of color and event the
subtle brush strokes, making it virtually
indistinguishable from the original. The Masters'
Collection replicas will last for generations and
allow you to display the world's great art in your
home or office for years to come."

ACTUALLY I its saying that this is an oil painting
that is a copy. The original is apparently in the
collection of the Art Institute of Chicago's Museum.
It appears they have not been able to prove this a
Clouet or their workshop so they list it as an
imitator.


 --- Dawn <dawn@reddawn.net> wrote: > Kimiko Small
wrote:
> 
> > Hi all
> > 
> > I was wondering if anyone recognizes this painting
> from eBay? It is 
> > supposed to be from Jean Clouet.
> >
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3557555593&ssPageName=ADME:B:SS:US:1
> 
> > 
> 
> I found this blurb:
> 
> *Clouet, Francois
> (Imitator of)
> French, before 1522-1572
> Portrait of Elizabeth of Austria, Wife of King
> Charles IX
> c. 1570
> Oil on panel
> 14 1/8 x 10 3/8 in.
> (36 x 26.3 cm)
> 1951.317
> 
> 
> here: www.artic.edu/aic/provenance/
> ProvPaint/Paint_C3.htm
> 


=====
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Non art majors are sometimes confused by the Clouets.
They were all known 'affectionately' at Court by
Janet. Sometimes Francois was refereed to as Francois
Janet in documents. This is probably what's causing
the ebay seller problem with dates.


 --- Kimiko Small <kimiko@kimiko1.com> wrote: > Hi all
> 
> I was wondering if anyone recognizes this painting
> from eBay? It is 
> supposed to be from Jean Clouet.
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3557555593&ssPageName=ADME:B:SS:US:1
> 
> It looks interesting to me, but the image isn't
> large enough for me to 
> determine details. I was hoping someone might
> recognize it and know where I 
> might find another, better image of the painting,
> preferably online?
> 
> And they have it from Jean Clouet who died according
> to them in 1541. 
> However, she is wearing a neck ruff. Is it possible
> she is actually from 
> Francis Clouet? French paintings is not my strong
> suit.
> 
> TIA
> 
> Kimiko


=====
Aurum peccamenes multifariam texit

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I have all the lectures in my calendar and plan to get to as many of the
(free) events as possible.

Wanna go to the Starkey lecture and heckle?

Wendy Z
(my faire season is FINALLY over, and I'll be sleeping all weekend)
Chicago, IL
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	sources -	was lawsuit over reselling of commercial patterns
References: 
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>it comes to the public domain.
>
>Say for instance, I sign an agreement to download information off the EEBO,
>and also visit museums who generously let me have access to all their
>material provided I don't republish it.  And I adhere to these terms quite
>willingly.  Over the years I download the entire EEBO, then, I get news that
>hurricane Isabel is on it's way so I gather my CD collection, 
>
<snip>

Your scenario is very elaborate and totally imaginary.  It is not a 
sitatuation you are involved in.  I have doubts about its legality. 
Should you find yourself in a situation anywhere near this elaborate, 
call a lawyer.  Should you have any doubts at all about the legality of 
anything  you are doing, call a lawyer.  As I've said, a quick 
conversation with a lawyer is a lot cheaper and less time consuming than 
getting sued.

Note that a lawsuit is by no means a "test case."  Probably other people 
have already sued and been sued over similar issues. There is no 
guarantee that the outcome of your suit will be the same as any of theirs.

And, my inclination on finding someone else's property is to do my best 
to find the rightful owner and restore it to him or her. 

>
>This is a fairly risky proposition to be in when ones livelihood depends on
>it in my opinion.  I see it from both sides.
>
I see it from both sides too, since I am a longtime book collector and 
buyer as well as a professional publisher.  I think you're describing 
problems that don't really exist.  So it's hard to find original works?  
Search harder.  So it's hard to understand copyright law?  Read up on it 
some more.  Consult a lawyer.  Consult the person who owns or may own 
the copyright or other rights.  In other words, do your research. 

But posting on a mailing list is not going to do anything to further 
your ends.  No one on h-costume can give you valid permission to do 
something that is illegal, or that violates any agreements you made with 
other parties.  Even if everyone on the list applauds your actions, if 
the person whose rights you are violating wants to sue you they can do it. 

Posting on h-costume will change nothing whatever in regard to overall 
copyright laws, licensing agreements, or property laws. If you believe 
certain laws are unfair and want to change them, ifyou believe certan 
parts of the legal structure should be overhauled, you need to contact 
your political representatives. 

It is silly to publish (on a website or otherwise) something that you 
think may be violating copyright or other laws but are not sure. And 
then, for months or years, wonder if the party whose rights you may or 
may not be violating will or will not find out. And if they do whether 
they will bother to sue you, or what they will do. Vew, very  few 
professionals will voluntarily sit on a time bomb like that. (Yes, 
publishers and authors sometimes make big mistakes, and a very few are 
downright dishonest.  But neither carelessness nor dishonesty  is the 
norm. Just as business considerations, carelessness and dishonesty are 
insecure and potentially very expensive.)

If you're publishing, and that's what putting up a website is, you 
should get all rights issues cleared _before_ publication.  You consult 
copyright owners (starting with whoever you think may be the owners, or 
people they have done business with such as former publishers), you do 
copyright searches, you consult a lawyer as necessary, you ask for help 
with searches as necessary. And when you are either positive no 
clearances are needed, or you have them recorded in writing, then you 
publish.  (You need permissions in writing because later on, the 
copyright may be acquired by someone other than the person you got 
permission from.) 

After all, you don't _have_ to publish anything. Even if you're a 
professional publisher, even if you make a living from publishing,  
there's always a different project. One that is equally worthwhile, 
interesting, profitable, and beneficial to society.  If you're not 
constrained by any need to make money, your possibilities for perfectly 
legal, ethical publication are enormous.   There is no need to do 
anything shady.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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This is an argument for not asking permissions from copyright owners or 
licensers? 

 If McCall's is lax, or gives tacit permission to do certain things, 
that applies to no copyright owner or licenser but McCall's.  (I have 
some doubts as to what Herman meant, because the big pattern companies 
do have fairly detailed official guidelines which I have seen their 
employees post on sewing newsgroups.)

No one can give permission to use someone else's property.   No 
copyright owner's or licenser's policies as to who they sue, apply to 
any other copyright owner or licenser.  One party may not care if you 
steal their property, another may instantly call their lawyer.

Fran


Lisa Sinervo wrote:

>This question has come up a couple of times on this list although it is not strictly historical.  But for those of you using McCall's or their other branded patterns for more than one person and wondering if it was a breech of the licensing agreement, the word from Bob Herman, president of McCall's paraphrased is " If you don't ask technical 
>questions, then you won't get a bad answer!". 
>

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  the difficulty in obtaining and sharing
	primarycostuming
	sources - was lawsuit over reselling of commercial patterns
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On Thu, 9 Oct 2003, Fran Grimble wrote:

<in response to Lisa Sinervo>

> I see it from both sides too, since I am a longtime book collector and
> buyer as well as a professional publisher.  I think you're describing
> problems that don't really exist.  So it's hard to find original
> works?  Search harder.  So it's hard to understand copyright law?  
> Read up on it some more.  Consult a lawyer.  Consult the person who
> owns or may own the copyright or other rights.  In other words, do
> your research.
> 
> But posting on a mailing list is not going to do anything to further
> your ends.  No one on h-costume can give you valid permission to do
> something that is illegal, or that violates any agreements you made
> with other parties.  Even if everyone on the list applauds your
> actions, if the person whose rights you are violating wants to sue you
> they can do it.

<and much more that I will not repeat here for length>

Fran, I'm hoping that you've simply misread Lisa's intent. You may not
realize it, but your implications in this post could be taken as extremely
insulting.

Lisa's entire point in this thread is that she *is* bending over backward
to observe the law -- copyright, property ownership, licensing agreements,
the works. The scenarios she described were not meant to be creative
excuses for illegal activities, but illustrations of some of the intrinsic
contradictions and problems with these laws that threaten the rights and
financial well-being of people who publish material and those (like Lisa)
who observe licensing agreements and republish only within legally
acceptable bounds. In no way did she indicate that she was trying to find
a way around the law or intended to publish illegally. And it is perfectly
reasonable for her to talk on the h-cost list about some of the
difficulties facing people who want to use source material for costume
research, and about her experiences in observing the law while working to
make materials available. Her posts, I think, could do much to educate
listmembers who don't understand why source material is not readily
available to them for free.

As you know, I share your strong feelings about observing copyright and
publishing law ... this is part of my livelihood too, both as an editorial
consultant and as a writer/researcher. But I do think statements such as
this are aimed at the wrong target this time:

> Posting on h-costume will change nothing whatever in regard to overall 
> copyright laws, licensing agreements, or property laws...

> It is silly to publish (on a website or otherwise) something that you 
> think may be violating copyright or other laws but are not sure. And 
> then, for months or years, wonder if the party whose rights you may or 
> may not be violating will or will not find out....

> ... There is no need to do anything shady.

Fran, I'm hoping that all this was meant as general advice directed to a
generic "you." But on my initial reading, I'm afraid it really sounded as
though you were coming down hard on Lisa, who definitely does not deserve
to be scolded. Let's save that for people who really do flout the law.

--Robin

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At 02:56 PM 10/9/2003 +0100, you wrote:
>Non art majors are sometimes confused by the Clouets.
>They were all known 'affectionately' at Court by
>Janet. Sometimes Francois was refereed to as Francois
>Janet in documents. This is probably what's causing
>the ebay seller problem with dates.


That would explain it, although he may have been lead to believe this by 
the original company writing or something. His problem, not ours, yes?

And thanks for the explanation. I was a business major. My friend was the 
art major, but he hadn't seen it before either, and his focus was more modern.

Kimiko


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: Re: [h-cost] 	the difficulty in obtaining and
	sharingprimarycostumingsources -	was lawsuit over reselling of commercial
	patterns
Date: Thu, 9 Oct 2003 11:56:42 -0700
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Fran, I am mearly  expressing various thoughts and muses I have about the
role of the public domain and the influence it has in how I approach
historical costuming. It is a way of helping me decided what I can and
cannot do, input from others has been helpful.  One needs to get a feel for
the culture one is operating in, knowing the literal law is not really
enough, how it works in real life and the reactions others are likely to
have all influence my choices.  None of what I have said should be taken as
any scheme or action one way or another that I plan or wish to do literally,
it is imaginary.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 09, 2003 10:51 AM
Subject: Re: [h-cost] the difficulty in obtaining and
sharingprimarycostumingsources - was lawsuit over reselling of commercial
patterns


>
> >it comes to the public domain.
> >
> >Say for instance, I sign an agreement to download information off the
EEBO,
> >and also visit museums who generously let me have access to all their
> >material provided I don't republish it.  And I adhere to these terms
quite
> >willingly.  Over the years I download the entire EEBO, then, I get news
that
> >hurricane Isabel is on it's way so I gather my CD collection,
> >
> <snip>
>
> Your scenario is very elaborate and totally imaginary.  It is not a
> sitatuation you are involved in.  I have doubts about its legality.
> Should you find yourself in a situation anywhere near this elaborate,
> call a lawyer.  Should you have any doubts at all about the legality of
> anything  you are doing, call a lawyer.  As I've said, a quick
> conversation with a lawyer is a lot cheaper and less time consuming than
> getting sued.
>
> Note that a lawsuit is by no means a "test case."  Probably other people
> have already sued and been sued over similar issues. There is no
> guarantee that the outcome of your suit will be the same as any of theirs.
>
> And, my inclination on finding someone else's property is to do my best
> to find the rightful owner and restore it to him or her.
>
> >
> >This is a fairly risky proposition to be in when ones livelihood depends
on
> >it in my opinion.  I see it from both sides.
> >
> I see it from both sides too, since I am a longtime book collector and
> buyer as well as a professional publisher.  I think you're describing
> problems that don't really exist.  So it's hard to find original works?
> Search harder.  So it's hard to understand copyright law?  Read up on it
> some more.  Consult a lawyer.  Consult the person who owns or may own
> the copyright or other rights.  In other words, do your research.
>
> But posting on a mailing list is not going to do anything to further
> your ends.  No one on h-costume can give you valid permission to do
> something that is illegal, or that violates any agreements you made with
> other parties.  Even if everyone on the list applauds your actions, if
> the person whose rights you are violating wants to sue you they can do it.
>
> Posting on h-costume will change nothing whatever in regard to overall
> copyright laws, licensing agreements, or property laws. If you believe
> certain laws are unfair and want to change them, ifyou believe certan
> parts of the legal structure should be overhauled, you need to contact
> your political representatives.
>
> It is silly to publish (on a website or otherwise) something that you
> think may be violating copyright or other laws but are not sure. And
> then, for months or years, wonder if the party whose rights you may or
> may not be violating will or will not find out. And if they do whether
> they will bother to sue you, or what they will do. Vew, very  few
> professionals will voluntarily sit on a time bomb like that. (Yes,
> publishers and authors sometimes make big mistakes, and a very few are
> downright dishonest.  But neither carelessness nor dishonesty  is the
> norm. Just as business considerations, carelessness and dishonesty are
> insecure and potentially very expensive.)
>
> If you're publishing, and that's what putting up a website is, you
> should get all rights issues cleared _before_ publication.  You consult
> copyright owners (starting with whoever you think may be the owners, or
> people they have done business with such as former publishers), you do
> copyright searches, you consult a lawyer as necessary, you ask for help
> with searches as necessary. And when you are either positive no
> clearances are needed, or you have them recorded in writing, then you
> publish.  (You need permissions in writing because later on, the
> copyright may be acquired by someone other than the person you got
> permission from.)
>
> After all, you don't _have_ to publish anything. Even if you're a
> professional publisher, even if you make a living from publishing,
> there's always a different project. One that is equally worthwhile,
> interesting, profitable, and beneficial to society.  If you're not
> constrained by any need to make money, your possibilities for perfectly
> legal, ethical publication are enormous.   There is no need to do
> anything shady.
>
> Fran
>
> -----------------------------------------
> Lavolta Press Books on Historic Costuming
> 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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Subject: Re: [h-cost] using commercial patterns for multiple people
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Again, one needs to get a feel for the culture one is operating in, knowing
the literal law is not really enough, how it works in real life and the
reactions others are likely to have all influence my choices.  This again is
why I posted this comment.  It is helpful not just to know the legal notice
on patterns, but to know how the owners of the patterns really feel about
what they say.  One can always be sued according to the letter of the law at
any time so I would always keep the legal notice in mind, but it is also
helpful to know the difference between what people say publically and how
they really feel.  My gathering from the statement in context is if you
bought a pattern for making a brides maid dress and wanted to use it for
both Becky and Sue, McCalls really doesn't want to know about it.  They
don't want to be bothered with your letters asking if it okay to use the
pattern twice, and in fact don't mind if you do, but they want to reserve
the rights that they state on their patterns if they ever need resort to it.

Listening for subtleties in life and not focusing on the literal can go
along way in getting along with people and respecting their real desires.


Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 09, 2003 11:21 AM
Subject: Re: [h-cost] using commercial patterns for multiple people


> This is an argument for not asking permissions from copyright owners or
> licensers?
>
>  If McCall's is lax, or gives tacit permission to do certain things,
> that applies to no copyright owner or licenser but McCall's.  (I have
> some doubts as to what Herman meant, because the big pattern companies
> do have fairly detailed official guidelines which I have seen their
> employees post on sewing newsgroups.)
>
> No one can give permission to use someone else's property.   No
> copyright owner's or licenser's policies as to who they sue, apply to
> any other copyright owner or licenser.  One party may not care if you
> steal their property, another may instantly call their lawyer.
>
> Fran
>
>
> Lisa Sinervo wrote:
>
> >This question has come up a couple of times on this list although it is
not strictly historical.  But for those of you using McCall's or their other
branded patterns for more than one person and wondering if it was a breech
of the licensing agreement, the word from Bob Herman, president of McCall's
paraphrased is " If you don't ask technical
> >questions, then you won't get a bad answer!".
> >
>
> -----------------------------------------
> Lavolta Press Books on Historic Costuming
> 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: Joe Robertson <joedr@charter.net>
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Subject: Re: [h-cost] Modern rules was Robertson tartan
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   Yes, it us very interesting how the tartan's wearing is considered
almost to be legislated. Truth is, anyone can wear anything, but some
setts are restricted from sale by the person, family, or entity that
commissioned their construction and have the copyright on the design. 
   For period purposes, I need to find one that is fairly nondescript
and recognizable in colours that are fairly representative of the
organic dyes used in period. Obviously, the psychedelic retina melters
are out of the question. For simplicities sake, I started looking at
already established tartans in ancient colours. Since I tend to favour
reds and greens, someone suggested I look at my family's own red tartan,
but in the old colours. I am also not opposed to having a solid brat,
appropriately ornamented. 
   As to construction, and due in no small part to Kass' input, I am
torn between semicircular and rectangular. I am also still having
difficulty finding appropriate decoration examples, including
embroidery. 

Slainte,
Joe
---
Joe Robertson, Psy.D.

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Subject: Re: [h-cost] Elizabeth I Exhibit
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-- Drea Leed <drea@nospam> wrote:
Isn't this the exhibit that will be touring 40 libraries in the US, once
it leaves the Newberry?  Or is that a different Elizabeth I Library
exhibit?

Drea

According to the program book, a 'photo reproduction' of the exhibit will be touring but not all the original pieces will be going. This is the only time that all the originals will be available, plus all the free lecture/discussions that go along with it.

Karen
(just trying to get folks to visit Chicago!)

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From: Fran Grimble <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] using commercial patterns for multiple people
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	<3F85A722.5070908@lavoltapress.com> <001201c38e98$48103220$6c39a5d1@pavilion>
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Status: RO

Lisa Sinerv

>It is helpful not just to know the legal notice
>on patterns, but to know how the owners of the patterns really feel about
>what they say. 
>
I'm not sure what the owner said, but--legally, the permission you have 
is the license officially given by the company.  Different people at the 
same corporation will tell you different things, or the same person will 
tell you different things at different times. (And I have, BTW, seen 
McCall's post that they _do_ care if you use one pattern twice for 
different people.) Some employee will not necessarily feel bound by a 
casual statement, their own or someone else's.   The corporate sentiment 
this year may not be the same next year.

This is why it is important to get all permissions in writing.  A 
"feeling" is not legally secure. If a license did not in some way 
represent a "real desire," they would not have paid their lawyers to 
draw it up. You are, IMO, on little safer ground with their casual 
statement on the net than you'd be second-guessing their "real feelings" 
without such a statement.  And this can quickly degenerate into net 
folklore where no one knows exactly was said or by which pattern 
company, there's just a rumor circulated that "pattern companies don't 
mind how many times you use their patterns."

But, there's a good way around this. If you're a dressmaker and you want 
to use one pattern for three bridesmaids and the pattern envelope says 
you can't, you can just ask the pattern company and (if they really 
don't mind) get official permission. I've never known anyone to feel 
"bothered" about requests for permissions. I don't know about McCall's, 
but most book publishers that size have a special department for 
permissions.  But if they don't want to bother with your request, 
they'll probably tell you that up front too.

There's no need to guess at "the culture" and "feelings" when you can 
get real facts and solid permisison in writing. Legal contracts _are_ 
literal. If you agree to something, the other party expects you to mean it.

Fran

>
>Listening for subtleties in life and not focusing on the literal can go
>along way in getting along with people and respecting their real desires.
>
>
>  
>

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From h-costume-bounces@indra.com  Thu Oct  9 17:31:11 2003
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From: "Angela F. Lazear" <angelalazear@sbcglobal.net>
To: <h-costume@indra.com>
Date: Thu, 9 Oct 2003 14:34:18 -0700
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Subject: [h-cost] help with a costume/ not exactly historic
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Can anyone in the Los Angeles/Orange County are point this lady in the
direction of a costumer who will help her make an ear of corn out of her
elementary school aged daughter?


RTTravelSales@aol.com

Feel free to email her directly.

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

"Love all, trust a few, do wrong to none:
be able for thine enemy rather in power than use,
and keep thy friend under thy own life's key:
be checked for silence, but never taxed for speech..."
W. Shakespeare

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From h-costume-bounces@indra.com  Thu Oct  9 17:32:18 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10310091337490.2254-100000@shell.nightowl.net>
Subject: Re: [h-cost]  the difficulty in obtaining and
	sharingprimarycostumingsources - was lawsuit over reselling of commercial
	patterns
Date: Thu, 9 Oct 2003 14:18:57 -0700
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Robin wrote:

 Her posts, I think, could do much to educate
> listmembers who don't understand why source material is not readily
> available to them for free.
>
Yes, my reading of copyright law in regards to the public domain gives me a
much greater appreciation as to why opertations such as the EEBO are so
difficult to access.  I think their very large investment is very vulnerable
under current copyright laws and it's not a wonder that they are so
restictive in allowing access.  Because they are dealing with public domain
material, they can only preserve their bread and butter (the actual books)
through direct licensing agreements.  I differ in opinion with Penny as to
who ownes the CD's in my previous example, because Miss Penelope Chalk
didn't find the actual book, which of course would be returned, but a copy
of a book which in and of itself is of no historic value, plus objects are
different altogether than intellectual property.  But if you wanted to use
the analogy, it would be as if Miss Penelope Chalk found a plastic bullet
replicating a historic one at Gettysburg.  The reproduction is not a
national artifact.

Never the less, I think eventually copyright law is going to have to move in
the direction of giving some recognition to the time/money and resources
someone/some organization puts into making public domain resources available
and the direct relationship that input had into someone having a public
domain document in their hands when it comes to compensation and
reproduction rights.  The current situation is just bad for everyone.
Property rights are being stretched to copyrights when they shouldn't, and
third parties not having any obligations to legitimate contracts invites
fraud.

Thus endeth the lesson!!!

Lisa Sinervo
www.thrednedlestrete.com




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>Fran, I'm hoping that all this was meant as general advice directed to a
>generic "you."
>

It was. 

I can't count how many times I've heard people worry that something on 
their website may be illegal (they're not sure) and that therefore 
someone may sue them or otherwise make their lives unpleasant.  I also 
can't count how many times I've heard people broach the question to a 
mailing list as if the list members had the power to give permission, 
which they don't. This has never made sense to me, because there is no 
real reason to be in this uneasy position. Most professional authors and 
publishers take the steps I mentioned to avoid it.  It's silly to beat 
around the bush forever doing guesswork, when you can just send an email 
to a lawyer or to the copyright owner and get the issue resolved.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] using commercial patterns for multiple people
Date: Thu, 9 Oct 2003 14:51:33 -0700
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Fran - The reason Bob said what he said was so he could sell more patterns
to a group of custom clothing professionals.  He wanted their business $$$
and he didn't want to spend his $$$ on customer service rep salaries at his
company responding in writing to requests for using patterns more than once
. He also indicated if he had to respond he would say no, company policy is
that patterns are single use only, but then he would lose business from this
group so he said, don't ask.  Everyone wins.  It is as simple as that.  No
doubt if publicly confronted with this quote he would deny all knowledge.
I passed this on because many of us on the list here are concerned about
both respecting copyrights as well as the environment.  Buying a second
pattern means more dead trees and a possible waste of gas/petrol to go to
the store to buy one.  Other companies of course have different policies and
I in no way mean to infer that Bob speaks for the entire pattern making
industry.


Lisa Sinervo
www.thrednedlestrete.com







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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  the difficulty in obtaining and
	sharingprimarycostumingsources - was lawsuit over reselling of commercial
	patterns
From: <aquazoo@patriot.net>
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     If Miss Penelope Chalk recognizes what's on the CD as being a facsimile of 
a book, why would she think it was ok to make copies and distribute it?  Any 
more than finding a folder full of xerox copies, or a Dover reprint, or an 
audio CD of Lisa and the Sinervettes singing Gregorian Chants?

     Also, on the CD, is there a page with the ownership & copyright info 
included, a "read me" file?  Maybe that's something that needs to be included 
in these sorts of copies in case they fall into the hands of someone other than 
the original recipient.

     -Carol


Lisa Sinervo <Lisa-list@threadneedlest.com> said:
> I differ in opinion with Penny as to who ownes the CD's
> in my previous example, because Miss Penelope Chalk
> didn't find the actual book, which of course would be
> returned, but a copy of a book which in and of itself
> is of no historic value, plus objects are different
> altogether than intellectual property.

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Date: Thu, 09 Oct 2003 15:33:55 -0700
From: Fran Grimble <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] using commercial patterns for multiple people
References: 
	<001401c38e0c$0f2c0240$082ca5d1@pavilion><3F85A722.5070908@lavoltapress.com>
	<001201c38e98$48103220$6c39a5d1@pavilion> <3F85D1EB.1020106@lavoltapress.com>
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>. He also indicated if he had to respond he would say no, company policy is
>that patterns are single use only, but then he would lose business from this
>group so he said, don't ask.  Everyone wins.  It is as simple as that. 
>
Not if someone at McCall's later decides certain uses are not allowable 
and prosecutes for them.  If he's going to deny it later, if it's off 
the record--this is not permission.

>Buying a second
>pattern means more dead trees and a possible waste of gas/petrol to go to
>the store to buy one. 
>
Copyright law is a totally different issue from the environment.  If 
someone wanted to prosecute you for overusing one copy of a pattern, 
your desire to save trees would be considered irrelevant.

If publishers (of all types) really wanted to save trees (and money) 
they'd sell everything in the form of downloadable files. One major 
reason most publications are not sold this way, is there is currently no 
copy-protection scheme that can't be "hacked."  According to people I 
know who work in programming and net security, there probably never will 
be such copy protection.   There is always at least one programmer who 
can manage to crack a piece of software and when they do, they tend to 
post their scheme on b-boards for others to use.  I've spent some time 
observing pirate newsgroups, for professional reasons.   It's very 
unpleasant. Aside from making you realize exactly how much damage people 
can do, it makes you realize there are people who are actually trying to 
do damage, whose intent is mostly destructive.  And when they are added 
to (and supplying material to) a larger population who is fairly 
ignorant about copyright law or feels it's generally OK but their own 
little violations won't really hurt anything--that does even more 
damage, a lot more.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From h-costume-bounces@indra.com  Thu Oct  9 18:46:37 2003
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: [h-cost] Re. sharing commercial patterns
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May I put in a personal note about the commercial pattern companies. I
design for Simplicity.

I really know very little about the business end of things at the company
because I'm a free-lancer and deal with them more as an outsider.  But there
are a couple of things to consider.  Many of the costume patterns are
designed by free-lancers who make a (meager) living on royalties.  When
people share patterns, it's hard on us.  Furthermore, if a certain number of
patterns don't sell each quarter, the design is pulled from the catalogue.
And that puts an end to our income from it.  Unlike smaller companies that
can sell the same patterns for years and years, the Big Three have only so
many pages in the catalogue and only so many slots in the drawer at JoAnn's.

The Big Three aren't as big as you think. Old and established, yes - but
you'd be surprised how few people man the fort and how hard they work. We're
not discussing General Motors here.

Martha




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From h-costume-bounces@indra.com  Thu Oct  9 19:31:52 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost]  the difficulty in obtaining
	andsharingprimarycostumingsources - was lawsuit over reselling of
	commercialpatterns
Date: Thu, 9 Oct 2003 16:13:37 -0700
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It is okay for Miss Penelope Chalk to publish the books on the CDs because
the books on the CDs are in the public domain which means anyone in the
public has the right to copy it without violating anyone else's copyright,
the work is owned by the public.  With specific reference to the books in
the database at the EEBO these works were originally published between 1475
and 1600.  U.S. copyright law says anything published before 1923 is in the
public domain, no-one has the right to say, it's mine, only I can copy it.
This is true for all the books in the EEBO.   However, if you own one of
these books you have no obligation to show it to anyone.  That is a right
you have because it is your personal property, you may keep it to your self,
or you can say, I will make a contract with Bob the Builder to let him have
a copy but I do not give him permission to reproduce the book.  This is a
contract between you and Bob and has nothing to do with copyright law.

This is what the EEBO does, it says, if you pay a fee you may download
facsimiles of these books but you may not republish them.  This is a legal
contract between EEBO (or the company that owns it) and me.   I will indeed
be in legal trouble if I do not keep this agreement.  But the slavish
facsimiles I have of these books carry no more copyright privileges then the
original books, they are also in the public domain.  They also can be
republished without violating copyright law as they are copies of books
printed before 1923, no copyright is attached to them.

I have to keep this access and use contract with the EEBO because I agreed
to it.  The books do have a notice that says, not for reproduction but it
doesn't really matter, the U.S. copyright law says they are in the public
domain because they were published before 1923.

Now, Miss Penelope Chalk was not party to the contract between the EEBO and
me so it has no legal repercussions for her.  What arrived on her front lawn
was a set of lawfully obtained copies of public domain books that as a
member of the public she has every right to reproduce as she wishes.  She
does not need to ask permission of the original owner for permission to
publish because the owner of the books does not have a copyright over them.
The owner can only allow or disallow access to their own copy, and set
conditions on access.  Miss Penelope Chalk doesn't need access to the book,
she has copies that she found on the street.

Does this make sense?  I see people stretching property rights into
copyright where none exist.  I mean, what happens if you lose the original
book?  Who gives permission then?  What if multiple copies exist, which
property owner are you supposed to ask for permission to republish?  These
are spurious questions really though as the owner of the book does not have
copyright over it, just access rights.  The contract for access cannot apply
to third parties who were never party to it.

This is not to say I advocate "taking" public domain property.  (can you
really steal it from yourself? or is the person claiming exclusive ownership
stealing it from you as a member of the public?  Can you really say this
about someone because if that person didn't make the material available for
a fee to cover their expenses and earn a living would have any  access to it
at all?)  I just think there should be some other way to protect people's
investment in making public domain material available than the flimsy
copyright/contracts that are in existence today.



Lisa Sinervo
www.thrednedlestrete.com






----- Original Message -----
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 09, 2003 3:08 PM
Subject: Re: [h-cost] the difficulty in obtaining
andsharingprimarycostumingsources - was lawsuit over reselling of
commercialpatterns


>
>      If Miss Penelope Chalk recognizes what's on the CD as being a
facsimile of
> a book, why would she think it was ok to make copies and distribute it?
Any
> more than finding a folder full of xerox copies, or a Dover reprint, or an
> audio CD of Lisa and the Sinervettes singing Gregorian Chants?
>
>      Also, on the CD, is there a page with the ownership & copyright info
> included, a "read me" file?  Maybe that's something that needs to be
included
> in these sorts of copies in case they fall into the hands of someone other
than
> the original recipient.
>
>      -Carol
>
>
> Lisa Sinervo <Lisa-list@threadneedlest.com> said:
> > I differ in opinion with Penny as to who ownes the CD's
> > in my previous example, because Miss Penelope Chalk
> > didn't find the actual book, which of course would be
> > returned, but a copy of a book which in and of itself
> > is of no historic value, plus objects are different
> > altogether than intellectual property.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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To: "Historical Costume" <h-costume@indra.com>
References: <LLEALCLGCCEBKHIGEMPOOEAKCIAA.marthakelly@nyc.rr.com>
Subject: Re: [h-cost] Re. sharing commercial patterns
Date: Thu, 9 Oct 2003 16:19:49 -0700
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I hope my message didn't imply sharing patterns, it was only meant to say,
using a pattern more than once and this was said in a way to market patterns
not sell less.

Lisa Sinervo


----- Original Message -----
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@net.indra.com>
Sent: Thursday, October 09, 2003 3:45 PM
Subject: [h-cost] Re. sharing commercial patterns


> May I put in a personal note about the commercial pattern companies. I
> design for Simplicity.
>
> I really know very little about the business end of things at the company
> because I'm a free-lancer and deal with them more as an outsider.  But
there
> are a couple of things to consider.  Many of the costume patterns are
> designed by free-lancers who make a (meager) living on royalties.  When
> people share patterns, it's hard on us.  Furthermore, if a certain number
of
> patterns don't sell each quarter, the design is pulled from the catalogue.
> And that puts an end to our income from it.  Unlike smaller companies that
> can sell the same patterns for years and years, the Big Three have only so
> many pages in the catalogue and only so many slots in the drawer at
JoAnn's.
>
> The Big Three aren't as big as you think. Old and established, yes - but
> you'd be surprised how few people man the fort and how hard they work.
We're
> not discussing General Motors here.
>
> Martha
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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>I just think there should be some other way to protect people's
>investment in making public domain material available than the flimsy
>copyright/contracts that are in existence today.
>

What do you suggest as an alternative?

Fran

-------------------------------------------
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http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: 
	<200310092212.h99MCJaw016002@jefferson.patriot.net><002c01c38ebb$06865000$7f38a5d1@pavilion>
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That is a very good question that I have only recently been thinking about,
and I definetly think it needs to be addressed at a legislative level.  Of
course socialism would solve the whole problem :) -

But really, I don't know.  How does one paid for the services provided by
someone putting infromation into circulation without depriving the public of
their rights to republish public domain material?  Maybe in the future, CD's
can have an electronic banking code in it that transfers money to the person
who put the effort into making the CD available from the copiers account and
this happens up to a certain amount to where the cost of production and some
earning a living profit is reached and then it goes away.  This way, one is
free to copy and the investor gets their money too!

There's a thought for starters.

Lisa



----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 09, 2003 5:14 PM
Subject: Re: [h-cost] the difficulty in
obtainingandsharingprimarycostumingsources- was lawsuit over reselling of
commercialpatterns


>
>
> >I just think there should be some other way to protect people's
> >investment in making public domain material available than the flimsy
> >copyright/contracts that are in existence today.
> >
>
> What do you suggest as an alternative?
>
> Fran
>
> -------------------------------------------
> Lavolta Press Books on Historic Costuming
> 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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 <002c01c38ebb$06865000$7f38a5d1@pavilion>
Date: Thu, 9 Oct 2003 21:00:58 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost]  the difficulty in obtaining 
 andsharingprimarycostumingsources
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>The books do have a notice that says, not for reproduction but it 
>doesn't really matter, the U.S. copyright law says they are in the 
>public domain because they were published before 1923.

      So, when Dover books reprints something, I can make copies if 
the original book is pre-1923?

>I mean, what happens if you lose the original book?  Who gives 
>permission then?

      Whoever authorized making the CD, I would think.

>What if multiple copies exist, which property owner are you supposed 
>to ask for permission to republish?

      Ask as many of them as you can find.  Publish the copy belonging 
to whoever gives you the best agreement.

>These are spurious questions really though as the owner of the book 
>does not have copyright over it, just access rights.  The contract 
>for access cannot apply to third parties who were never party to it.

      The CD is a new publication.  The material has been changed - 
it's been digitized.

      -Carol
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can have an electronic banking code in it that transfers money to the person

>who put the effort into making the CD available from the copiers account and
>this happens up to a certain amount to where the cost of production and some
>earning a living profit is reached and then it goes away.  This way, one is
>free to copy and the investor gets their money too!
>
Why just "production and earning a living"?  Why not a profit so the 
publisher can continue to produce more CDs?  Of course, I assume the 
publisher would determine the amount, since they made the CD.

I don't think this scheme is technically possible right now. But to me 
it doesn't matter. I don't think the current system is ideal, but I 
don't find it terribly confusing, nor do I find it terribly flimsy.

Fran

------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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To: "Historical Costume" <h-costume@indra.com>
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Carol wrote:

> >The books do have a notice that says, not for reproduction but it
> >doesn't really matter, the U.S. copyright law says they are in the
> >public domain because they were published before 1923.
>
>       So, when Dover books reprints something, I can make copies if
> the original book is pre-1923?

Yes, as long as you have not entered into a licensing agreement with Dover
in order to obtain a copy of the book you wish to publish that excludes you
from doing so.  Material published before 1923 is in the public domain.  The
right to republish it belongs to everybody.  You do not have to have the
original edition because the new Dover edition does not aquire new
copyrights for the old material.   New material added such as footnotes,
editorial comments, translations, additions of illustrations not found in
the old material are under copyright so you may not use that without
permission.  Unfortunately most books just add a general copyright and you
can't tell what's new and what's old unless you see a pre 1923 copy.  A
great change to copyright legislation would be to require publishers to
identify what material is in the public domain and what has been added.
That way it would be easier to respect the copyrights they do truely hold.

>       The CD is a new publication.  The material has been changed -
> it's been digitized.

So far, the US Copyright Office has refused to register most copies of
scanned art work that is already in the public domain.  Slavish copies of
originals from the public domain contain no originality to warrant a new
copyright, even in digital form.  The books in my senario were slavish
facsimilies.

Again, I think some respect must be paid for the efforts of those who
publish public domain material.  It's really cutting off your nose to spite
your face to run these people out of business.  On the other hand, they do
not "own" the right to say who can republish public domain material or who
can't.  This is contrary to the whole philosophy of having a public domain.
I really would like to see some system that supported their investments
without creating false copyrights and eliminating bullying threats or
lawsuits.

Lisa Sinervo


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>the new Dover edition does not aquire new
>copyrights for the old material.   
>
I'm sure Dover does register their books with the Copyright Office, and 
yes, they own those copyrights.

>New material added such as footnotes,
>editorial comments, translations, additions of illustrations not found in
>the old material are under copyright so you may not use that without
>permission. 
>
They also own the rights to their selection of material for an 
anthology, their organization of that material, their changes to the 
original text, their changes to the illustrations, their interior and 
cover designs, their introductions, their bibliographies, etc. They own 
everything verbal and/or visual done to the original work, including 
both new material and changes to the old material. 

If, for example, they take an Elizabethan work and modernize the 
spelling and grammar--they own that edition of the book. 

> Unfortunately most books just add a general copyright and you
>can't tell what's new and what's old unless you see a pre 1923 copy. 
>
With most books it is customary to copyright the book as an entire work, 
to put one copyright notice in it, and to send one form (plus two copies 
of the book and a check) to the Copyright Office. 

> A
>great change to copyright legislation would be to require publishers to
>identify what material is in the public domain and what has been added.
>That way it would be easier to respect the copyrights they do truely hold.
>  
>
The copyright claimnant (publisher or author) does truly own the 
copyright to their own edition of the book as a modern work. This is not 
some kind of lie or fake. It is not a "false copyright."  They are 
merely protecting their own work and can defend it in court.

>On the other hand, they do
>not "own" the right to say who can republish public domain material or who
>can't.  
>
The point is you need to go back to the original material in the public 
domain--not someone else's edition.    _The Public Domain_ covers this 
in some detail as I recall, including how to save proofs that you used 
an original edition in case you get sued.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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It's not easy to make a scan look like an original, BTW. Usually it 
doesn't. Particularly with mass scanning jobs meant to digitize huge 
batches of material quickly; or at the other end, if a lot of digital 
enhancement has been done to clean the image up, sharpen it, etc.

>So far, the US Copyright Office has refused to register most copies of
>scanned art work that is already in the public domain.  Slavish copies of
>originals from the public domain contain no originality to warrant a new
>copyright, even in digital form.  
>

But, I thought the EEBO copies were covered by a licensing agreement, 
which is a different form of legal protection (you agree contractually 
to certain terms of use). 

Fran

-----------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: [h-cost] Online Bayeux Tapestry Stitch resources?
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So it may be slightly off topic, but does anyone know of anyonline Bayeux tapestry resources?  An expert is giong to teach me, but we're having some problems meeting up and I'd like to get started and then take it to her for more advanced assistance.

Tayla
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Fran wrote:
>
> But, I thought the EEBO copies were covered by a licensing agreement,
> which is a different form of legal protection (you agree contractually
> to certain terms of use).
>
Yes, but Miss Penelope Chalk was not party to the agreement that existed
between me and the EEBO folks and unfortunately the EEBO didn't respond to
the "found item" advertisement in the local newspaper.  I heard she started
a rival EEBO service with a lower subscription price, earned truckloads of
money, and ran the original EEBO out of business.  After she purchased their
database software for a pittance, she jacked up the price of subscriptions
and earned bucketloads more money from the movie rights she sold to her
story and established a Rockefeller like foundation to support the arts.

Lisa


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Frankly, I'm sticking to real-life issues, rather than complex imaginary 
scenarios. 

Fran

> was not party to the agreement that existed
>between me and the EEBO folks and unfortunately the EEBO didn't respond to
>the "found item" advertisement in the local newspaper.  I heard she started
>a rival EEBO service with a lower subscription price,
>
<snip>

-----------------------------------------
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Historic and Vintage Dance
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Subject: Re: [h-cost] Online Bayeux Tapestry Stitch resources?
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So it may be slightly off topic, but does anyone know of anyonline Bayeux 
tapestry resources?  An expert is giong to teach me, but we're having some 
problems meeting up and I'd like to get started and then take it to her for more 
advanced assistance.

The SCA Kingdom of Atlantia Embroiderers' Guild has a wonderful web page of 
published and on-line sources for embroidery from the fall of Rome to the end 
of the Renaissance.  I am sure you will find some on-line Bayeux Embroidery 
URLs there.


The Atlantian Embroiderers' Guild - Tempore Atlantia Annotated Bibliography

Nancy


***********************************************************
Nancy Spies         Ingvild Josefsdatter, OL
Arelate Studio       Barony of Bright Hills, Atlantia
http://www.weavershand.com/ArelateStudio.html
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "h-costume" <h-costume@indra.com>
Date: Fri, 10 Oct 2003 01:59:23 -0400
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Subject: [h-cost] YIPPEE! A New Addition
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Today we added a long awaited project to our online Library... an entire
textbook used by
hairdressers in 1899 for hair care.  I own three of these books, 1899, 1911,
& 1923.  The 1899 book is the funniest book of the three.  I carried it
around with me
for a couple of weeks... reading and died laughing.  People would ask what I
was reading and I would read them sections of it.  They too enjoyed it.

This book does not have a lot about hairstyles but how to care for your
hair.  Some of the amazing sections are about washing your hair section and
the baldness section (one line in it is so funny). Another section of
amusement is about what color hair women should have to make the best wife
(and the reasons why... it is backed up with a research study).

We plan to have the 1911 Hair Textbook online in the next few months.  We
still have to start the typing on the 1923 book.  It will be wonderful to
compare the beliefs of caring for hair between 24 years.

Here is the URL for the 1899 Hair book:
http://www.costumegallery.com/1899/
You may view the table of contents without having one of our library cards.

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


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Date: Fri, 10 Oct 2003 08:07:22 +0100 (BST)
From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost]  the difficulty in
	obtainingandsharingprimarycostumingsources
To: Historical Costume <h-costume@indra.com>
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 --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Fran wrote:
> >
> > But, I thought the EEBO copies were covered by a licensing agreement,
> > which is a different form of legal protection (you agree contractually
> > to certain terms of use).
> >
> Yes, but Miss Penelope Chalk was not party to the agreement that existed
> between me and the EEBO folks and unfortunately the EEBO didn't respond to
> the "found item" advertisement in the local newspaper.  I heard she started
> a rival EEBO service with a lower subscription price, earned truckloads of
> money, and ran the original EEBO out of business.  After she purchased their
> database software for a pittance, she jacked up the price of subscriptions
> and earned bucketloads more money from the movie rights she sold to her
> story and established a Rockefeller like foundation to support the arts.

Okay, I bit my tongue for a long while, but can someone tell me how long this
is going to go on? Because I'm tired of deleting bucketloads full of emails,
I'd rather unsubscribe, it is getting seriously silly in a not good way, and
that although I have someone's email address already on automatic delete
anyway.

Savvy?

Just let me know.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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From h-costume-bounces@indra.com  Fri Oct 10 08:29:11 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost]  the difficulty
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Well Nicole, I think you might notice that this email from me had a change
in style from the previous ones, not serious, and contains an end to the
story.  These little clues give a pretty good indication that the subject
had reached its conclusion from my end.

Lisa Sinervo


----- Original Message -----
From: "N Kipar" <nicolas_fouquet@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 10, 2003 12:07 AM
Subject: Re: [h-cost] the difficulty
inobtainingandsharingprimarycostumingsources


> --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Fran wrote:
> > >
> > > But, I thought the EEBO copies were covered by a licensing agreement,
> > > which is a different form of legal protection (you agree contractually
> > > to certain terms of use).
> > >
> > Yes, but Miss Penelope Chalk was not party to the agreement that existed
> > between me and the EEBO folks and unfortunately the EEBO didn't respond
to
> > the "found item" advertisement in the local newspaper.  I heard she
started
> > a rival EEBO service with a lower subscription price, earned truckloads
of
> > money, and ran the original EEBO out of business.  After she purchased
their
> > database software for a pittance, she jacked up the price of
subscriptions
> > and earned bucketloads more money from the movie rights she sold to her
> > story and established a Rockefeller like foundation to support the arts.
>
> Okay, I bit my tongue for a long while, but can someone tell me how long
this
> is going to go on? Because I'm tired of deleting bucketloads full of
emails,
> I'd rather unsubscribe, it is getting seriously silly in a not good way,
and
> that although I have someone's email address already on automatic delete
> anyway.
>
> Savvy?
>
> Just let me know.
>
> Nicole
>
> =====
> Cap'n Cat of the good ship 'Harlot'
> http://www.kipar.org/society/author/pirates/
>
> Email: nicole@kipar.org
> URL: http://www.kipar.org
>
> ________________________________________________________________________
> Want to chat instantly with your online friends?  Get the FREE Yahoo!
> Messenger http://mail.messenger.yahoo.co.uk
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Fri Oct 10 08:33:55 2003
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Subject: Re: [h-cost]  the difficulty 
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Status: RO

Oh, yeah....
Can we please drop this line? This sort of futile wrangling seems to
happen every time that copyright issues get brought up.  And while I
know the these issues are a very valid concern to researchers in general
(let alone those of us who love historical costumes in one way or
another), this discussion has obviously dissolved into some
interpersonal crankiness.  If the arguers feel the need to continue it,
ad infinitum, could they please take it off-list at least? That way, it
won't be clogging my inbox with stuff I have to just delete anyway.
Thanks,
Sue

N Kipar wrote:
> 
>  --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Fran wrote:
> > >
> > > But, I thought the EEBO copies were covered by a licensing agreement,
> > > which is a different form of legal protection (you agree contractually
> > > to certain terms of use).
> > >
> > Yes, but Miss Penelope Chalk was not party to the agreement that existed
> > between me and the EEBO folks and unfortunately the EEBO didn't respond to
> > the "found item" advertisement in the local newspaper.  I heard she started
> > a rival EEBO service with a lower subscription price, earned truckloads of
> > money, and ran the original EEBO out of business.  After she purchased their
> > database software for a pittance, she jacked up the price of subscriptions
> > and earned bucketloads more money from the movie rights she sold to her
> > story and established a Rockefeller like foundation to support the arts.
> 
> Okay, I bit my tongue for a long while, but can someone tell me how long this
> is going to go on? Because I'm tired of deleting bucketloads full of emails,
> I'd rather unsubscribe, it is getting seriously silly in a not good way, and
> that although I have someone's email address already on automatic delete
> anyway.
> 
> Savvy?
> 
> Just let me know.
> 
> Nicole
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Fri, 10 Oct 2003 06:20:35 -0700
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Subject: [h-cost] Rockefeller - was copyright
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Status: RO

Sue wrote:

>Oh, yeah....
Can we please drop this line? This sort of futile wrangling seems to
happen every time that copyright issues get brought up.  And while I
know the these issues are a very valid concern to researchers in general
(let alone those of us who love historical costumes in one way or
another), this discussion has obviously dissolved into some
interpersonal crankiness.  If the arguers feel the need to continue it,
ad infinitum, could they please take it off-list at least? That way, it
won't be clogging my inbox with stuff I have to just delete anyway.
Thanks,
Sue


Those of you who have interpreter my last post as silly or interpersonal crankiness my not be familiar with the history of Nelson Rockefeller.  Rockefeller obtained his fortune by moving into small towns and setting up gas stations which undercut the completion.  As soon as the competition whet out of business, he jacked up his prices and he did this again and again until he had a monopoly on oil throughout the country where he could set his price.  This of course was not good, so anti-monopoly laws were introduced to halt his behavior his behavior and the eliminate detrimental effect they had on the public welfare.

I used this analogy with Miss Penelope Chalk to illustrate that the current laws do not support people working with public domain material and they are very venerable to unscrupulous people.  

Get it now?

Lisa Sinervo
www.thrednedlestrete.com
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
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Subject: [h-cost] Re: Rockefeller - was copyright
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Those of you who have interpreted my last post as silly or interpersonal crankiness my not be familiar with the history of Nelson Rockefeller.  Rockefeller obtained his fortune by moving into small towns and setting up gas stations which undercut the completition.  As soon as the competition went out of business, he jacked up his prices and he did this again and again until he had a monopoly on oil throughout the country where he could set his price.  This of course was not good, so anti-monopoly laws were introduced to halt his behavior and the eliminate detrimental effect it had on the public welfare.

I used this analogy with Miss Penelope Chalk to illustrate that the current laws do not support people working with public domain material and they are very venerable to unscrupulous people.  

Get it now?

Lisa Sinervo
www.thrednedlestrete.com
  ----- Original Message ----- 
  From: Lisa Sinervo 
  To: Historical Costume 
  Sent: Friday, October 10, 2003 6:20 AM
  Subject: Rockefeller - was copyright


  Sue wrote:

  >Oh, yeah....
  Can we please drop this line? This sort of futile wrangling seems to
  happen every time that copyright issues get brought up.  And while I
  know the these issues are a very valid concern to researchers in general
  (let alone those of us who love historical costumes in one way or
  another), this discussion has obviously dissolved into some
  interpersonal crankiness.  If the arguers feel the need to continue it,
  ad infinitum, could they please take it off-list at least? That way, it
  won't be clogging my inbox with stuff I have to just delete anyway.
  Thanks,
  Sue


  Those of you who have interpreter my last post as silly or interpersonal crankiness my not be familiar with the history of Nelson Rockefeller.  Rockefeller obtained his fortune by moving into small towns and setting up gas stations which undercut the completion.  As soon as the competition whet out of business, he jacked up his prices and he did this again and again until he had a monopoly on oil throughout the country where he could set his price.  This of course was not good, so anti-monopoly laws were introduced to halt his behavior his behavior and the eliminate detrimental effect they had on the public welfare.

  I used this analogy with Miss Penelope Chalk to illustrate that the current laws do not support people working with public domain material and they are very venerable to unscrupulous people.  

  Get it now?

  Lisa Sinervo
  www.thrednedlestrete.com
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Date: Fri, 10 Oct 2003 07:50:51 -0600
From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] Rockefeller - was copyright
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Status: RO

I got it, all right.
The first time.
And the second time.
And the third.
As I wrote, I realize that copyright issues are of very valid concern. I
also realize that such topics can bring up very strong opinions in
people, especially those who know quite a lot about a given topic.
I did NOT, however, ever refer to anyone's post on this as "silly."  I
did state my opinion that, once again, a discussion on copyright issues
has dissolved into a public argument between only a few people on this
list, and that the back-and-forth posts were clogging mailboxes, causing
some of us, at least, to automatically hit the delete button.  In my own
opinion, this topic has gone waaay off having anything much of anything
constructive to do with "historical costume."  I, like Nicole, wish very
much that it would go away, so that we can back to the stated purpose of
the list.
Got that?
--sue
And yes, I'm familiar with that particular story, as I am with the
stories of some other, equally predatory, modern business practices. 
But they're not germane to this list, so I don't feel the need to bring
them up.

Lisa Sinervo wrote:
> 
> Sue wrote:
> 
> >Oh, yeah....
> Can we please drop this line? This sort of futile wrangling seems to
> happen every time that copyright issues get brought up.  And while I
> know the these issues are a very valid concern to researchers in general
> (let alone those of us who love historical costumes in one way or
> another), this discussion has obviously dissolved into some
> interpersonal crankiness.  If the arguers feel the need to continue it,
> ad infinitum, could they please take it off-list at least? That way, it
> won't be clogging my inbox with stuff I have to just delete anyway.
> Thanks,
> Sue
> 
> Those of you who have interpreter my last post as silly or interpersonal crankiness my not be familiar with the history of Nelson Rockefeller.  Rockefeller obtained his fortune by moving into small towns and setting up gas stations which undercut the completion.  As soon as the competition whet out of business, he jacked up his prices and he did this again and again until he had a monopoly on oil throughout the country where he could set his price.  This of course was not good, so anti-monopoly laws were introduced to halt his behavior his behavior and the eliminate detrimental effect they had on the public welfare.
> 
> I used this analogy with Miss Penelope Chalk to illustrate that the current laws do not support people working with public domain material and they are very venerable to unscrupulous people.
> 
> Get it now?
> 
> Lisa Sinervo
> www.thrednedlestrete.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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> > Sue wrote:
> >
> > >Oh, yeah....
> > Can we please drop this line? This sort of futile wrangling seems to
> > happen every time that copyright issues get brought up.

I'd like to finish up (once again) by saying that I do apologies for those
who feel clogged up by my emails, but I have also come away from this round
of copyright discussion with some ideas now and a much clearer picture of
how copyright law relates to my costume research endeavors, and may even
take it up further, as suggested, with those with legislative authority.

Thanks again,

Lisa Sinervo
www.thrednedlestrete.com



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From h-costume-bounces@indra.com  Fri Oct 10 10:29:59 2003
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Status: RO

The reason I've gone on and on about copyright at this time is because I have just discovered the EEBO.  I'm absolutely gobsmacked at the information in that database that costumers would find usefull.  I was shocked to find how close all those public domain documents were if I only knew about it, if costumers could only have access to it then we wouldn't all be running around with our heads cut off to find info.  Hence my pre-occupation with copyright at the moment.  It wasn't just another round for the sake of having a round.

Lisa Sinervo
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Subject: Copyright and preservation of primary sources (was: re: [h-cost]
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I find I must de-lurk after reading the recent posts regrding copyright and public domain sources. 

THE FOLLOWING IS NOT INTENDED TO BE LEGAL ADVICE!!! If you aren't sure your use of a published document or computer file or image isn't legal, contact an attorney or a local law school.

In my paralegal training on intellectual property and copyright I was taught that a collection of material which contains individual public domain documents is protected by the copyright of the editor. What is being protected is the specific layout, any notes or additional commentary, and so forth. THe editor is not claiming copyright on the original public domain material itself. 

In the example of the CD, a person copying the CD in entirety as it was published by the editor for distribution to other people (whether for a fee or for free) is definitely breaking copyright law. However, making a back-up copy of the CD for you to put away in case the first one gets damaged and becomes unusable is valid "fair use." 

If you copy a drawing from a facsimile of Alcega's book (for example) because you want to make a full size pattern for your own personal use in making that garb for Coronation, you aren't violating copyright law because Alcega's work is in the public domain. Copying the entire facsimile is violating copyright. Also, if you copy a pattern that someone made that was based on information from the Alcega pattern which they modified to fit modern body shapes you are violating the copyright of that person's original/deriviative work. 

I agree it's is very frustrating to be researching something and running into the "brick wall" of "it's too expensive to buy access to the database/the facsimile because it is a limited edition."  It's equally frustrating for a person who has worked to gather information, collate pages and notes, and write commentary on a fragmentary document to find that there are copies of her work out there that were pirated. Copyright allows the editor/author to receive recompense for the work they did. 

Much of the primary documentation for historic costuming is in the hands of museums. The facsimiles and photographs that are so expensive help to pay for the preservation and research of these unique and invaluable documents and extant garments (which is horrifically expensive). 

There is nothing in copyright law that prevents a group of like-minded historical costumers from chipping in to pay for a facsimile or set of photgraphs with measurements that they can share and work from. It's the taking those facsimiles and photographs to Kinko's or Staples and getting full size color copies ofthe entire package made up for each and every person in the group that is the violation.

Frankly, I'd rather that access to the primary documents and garments themselves remain difficult to physically lay hands on. Many well-meaning amateur (doing it from the love of it) researchers are not trained in the techniques of handling such fragile objects. I know I'm not.

As much as I would love to be able to go to the V&A and actually physically examine the inside construction of a gown or gentleman's jacket from the early Regency period or pore over a piece of Renaissance textile, I know that my handling it could damage it, if not destroy it. I'm going to have to rely on those properly trained to do the measuring and take the photographs and notes for me and I'm going to have to pay for it.

Copyright isn't about someone being selfish and keeping these objects and information away from us. It actually ensures that the information being circulated is accurate and correct and provides for the money for the research and preservation to continue.

Yours sincerely,

Christine Krebs-Bonder
(Paralegal, historic costumer, and amateur researcher)




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Hi Lisa,

     You probably posted this at the beginning of the discussion, but would you 
post info again about the EEBO?  How would I get in touch with them, what is 
the subscription fee, etc?

     It sounds like a great resource, and I'd like to know more about it.

     Thanks!
     -Carol

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Subject: [h-cost] Elizabeth Maritime Exhibit catalogue
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I remember some folks talking about this being available, but not what
the finally opinion was on how good this catalogue might be for a
resource.  I am looking for costume & needlework in particular.  Reviews
anyone?

Thanks,
Catherine
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Subject: Re: [h-cost] Rockefeller - was copyright
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It would be easier for me to understand what you are getting at if you 
talked about your current situation and goals, rather than an imaginary 
scenario regarding someone else. 

Current US laws do support changes and additions made to public domain 
material. Furthermore, ownership of modern US copyright is not dependent 
on registration with the Copyright Office or on publication. It exists 
as soon as the work is in "fixed and tangible form" (that is not just an 
idea in someone's head), and this includes drafts as well as a final 
version.   It includes design and layout as well as text and 
illustrations. So, your own original work is protected, which is the 
purpose of copyright.  It does not matter if you say on form TX that you 
are registering (among other things) "new illustrations," but you do not 
list them. That would get way too complicated (you only get a couple of 
lines to say what you're registering), and they're all copyrighted 
anyway.  

It is unfortunate if some people are so unscrupulous as to steal 
facsimiles regardless of the expense and effort that goes into producing 
them. I agree the ultimate effect would probably be that people quit 
producing the facsimiles. If this is a potential problem for you--well, 
a lawyer might help, but on the other hand reprinting public domain 
material may not be the best thing for you to do. 

Fran



>
>I used this analogy with Miss Penelope Chalk to illustrate that the current laws do not support people working with public domain material and they are very venerable to unscrupulous people.  
>
>Get it now?
>  
>
------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] EEBO
Date: Fri, 10 Oct 2003 12:35:44 -0700
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The EEBO stands for Early English Books Online and is a project that has
collected over 100,000 books from 1475-1600.  They have just about every
english reference book you could ever dream of looking at barring public
records.  All the editions of Stubbes Anatomy of Abuses are there, Stowe's
Annals of England, Custom rates for textiles, make up books, proclamations,
statutes, ever lasting gobstoppers and four course flavoured gum that
doesn't even turn you into a blueberry when your done!.  The EEBO has got it
all!  The books are facsimilies of the originals put into pdf form.  They
are also working on a project to translate these books into searchable text,
including a searchable version of Stubbes.   I can't believe how ignorant I
was to think access to Stubbes was limited to some scant copies around the
world.  Some very sophisticated programmers and museums have been working
together to preserve these texts.

When I saw the database, it was if a 250 watt lightbulb went on in my head.
Before I couldn't work out why so many people were able to reference the
introduction of starch when Annals of England hadn't been reprinted for 400
years.  It all made sense.  This project must have cost millions of dollars
to put together and countless hours.  My concern for copyright arose because
I could see that current laws and court cases do not give any consideration
to the investment people have made in bringing public domain works to the
public, just whether someone was party to a contract or not, and I think
that courts should consider the investment and the direct relationship that
work had in providing someone access to a public domain work in cases
brought before them.  Legislation would be required.  My imaginary case was
to show the weakness in the current laws for organisations such as the EEBO
who are engaged in bringing public domain works to the public.  If I had out
of copyright books as my business under the current copyright rules I would
rather seek more reputable clients than risk selling individual
subscriptions to unknowns who might foolishly put the downloads on the hood
of the car and drive off leaving them in the hands of some third party or
some similar senario.

You can find the EEBO here - http://wwwlib.umi.com/eebo/  and there are
about 200 books for you to sample including Gerards Herbal under botany.
But to access the entire EEBO you need to have a subscription, which is
about $3,000.  Major universities probably have subscription if you can get
access to them.

Hope this is of some assistance.

Lisa Sinervo
www.thrednedlestrete.com







----- Original Message -----
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 10, 2003 8:13 AM
Subject: [h-cost] EEBO


> Hi Lisa,
>
>      You probably posted this at the beginning of the discussion, but
would you
> post info again about the EEBO?  How would I get in touch with them, what
is
> the subscription fee, etc?
>
>      It sounds like a great resource, and I'd like to know more about it.
>
>      Thanks!
>      -Carol
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] EEBO and the British Manuscripts Project 
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Lisa Sinervo wrote:

> The EEBO stands for Early English Books Online and is a project that has
> collected over 100,000 books from 1475-1600. 

snip


> Before I couldn't work out why so many people were able to reference the
> introduction of starch when Annals of England hadn't been reprinted for 400
> years. 


Not many people seem to know that the contents of the British Museum 
Department of Manuscripts, Cambridge University Library, Public Record 
Office, Lincoln Cathedral, Oxford Bodleian Library and several other 
great collections were microfilmed from 1941-1944 -- to preserve them 
from the threat of war -- and are now in the Library of Congress in 
Washington DC.

The collection can be viewed free, or copies acquired (if you know what 
microfilm reel you want) for the cost of photocopying. The US Govt. 
Printing Office put out an index to part of the colection in 1955. I 
have a reprint from 1966. I don't know of any that were printed after 
that date. It's called "The British Manuscripts Project".




Dawn


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Date: Fri, 10 Oct 2003 22:15:33 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] OT? Lace judge's jabots UK
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Not only judges but also ... the Moderator (President/Chairman? top 
person, elected each year) of the Church of Scotland wears lace jabot 
and cuffs.  It's traditionally bought for him by his own church 
congregation. They're also worn with some styles of kilt jacket, so 
there's a few other places you could look apart from just legal costume.

Jean


Cynthia Virtue <cvirtue+dated+1081194470.1b7b72@thibault.org> wrote
>Hi Folks,
>
>I don't know if this is a historical thing or not.  The lady found me 
>via my webpage; please drop me a note if you've got a suggestion. 
>Thanks!
>
>-------- Original Message --------
>
>
>Question -- do you have a pattern for making a lace jabot such as the
>British folk wear (or wore) with their robes and wigs?
>
>We have a friend & co-worker who just became a judge, and we are trying
>to furnish her with all the trappings (without spending a fortune!)
>
>

-- 
Jean Waddie
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Subject: [h-cost] Databases, IP, and contractual law (WAS: Re: h-costume
	Digest, Vol 2, Issue 643)
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Thu, 09 Oct 2003 21:32:03 -0700, Fran Grimble responded to Lisa Sinervo:

>Frankly, I'm sticking to real-life issues, rather than complex imaginary 
>scenarios.
>
>>was not party to the agreement that existed between me and the EEBO folks 
>>and unfortunately the EEBO didn't respond to
>>the "found item" advertisement in the local newspaper.  I heard she 
>>started a rival EEBO service with a lower subscription price,

I hate to burst your bubble, Fran, but except for "finding the disc" and 
"placing an ad", this IS a real-life scenario. Some database producers and 
aggregators routinely rip off other publishers' records, though those 
records are usually much more time-sensitive publications in much more 
competitive fields than collecting-and-scanning historical documents. It's 
hard to catch them because each aggregated product is a separate and novel 
product protected by its own contracts and agreements, and it's hard to 
find the needle that is your database's work amidst the haystack that is 
the entire collection of several hundred databases -- especially if your 
database is much smaller than the "file" (database) into which the 
aggregator is placing your records.

This is about all I can say on the matter publicly.



Brenda
webwarren@earthlink.net


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 Digest, Vol 2, Issue 643)
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Yes, I do know some people steal and sell database info. (There is no 
form of intellectual property someone or other will not try to steal.) 
But I prefer to deal with real-life problems as they come up. Or when a 
planned action has potential real-life problems that should be 
prevented, for example by writing a contract that minimizes the risk of 
those problems.

My assumption was that Lisa had, or feared, some copyright problem of 
her own, since she does publish on a website and seems to plan to extend 
the site. Afraid someone would violate her copyrights? Afraid she might 
violate someone else's? I did not know what the problem was and was 
therefore unable to suggest a solution.  

As for protecting other peoples' work, I think what is necessary is to 
be aware of their rights. To be careful to not violate them yourself. 
And, if you suspect a violation by some third party, to notify the 
copyright owner of a (possible)  problem so they can deal with it.

Fran

>
> I hate to burst your bubble, Fran, but except for "finding the disc" 
> and "placing an ad", this IS a real-life scenario. Some database 
> producers and aggregators routinely rip off other publishers' records,
> Brenda
> webwarren@earthlink.net
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

-- 
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: [h-cost] 
	fulling wool?/cording patterns/Butterick Gone with the Wind pattern
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How does one full wool?  I have some camel hair/sheeps
wool coating weight wool for an Edwardian cape with
lots of cording couched down.  How do I full the wool?
 Do I need to do seam finishes and if so, how?  Since
this is a coating wool and fairly thick do I need to
back the couching for strength and durability?  Should
this be lined?  I wasn't going to as this is a thick
wool but if I need to back the corded area then it
should probably be lined?

This has made me wonder about cording patterns?  And
couching patterns?  How old is couching or braided
cord as a trimming?  Not gold or precious metals but
just cord or braided cordings, not necessarily tablet
weaving, just braiding.  Any good websites or books?

Butterick has a new Gone with the Wind pattern under
their costumes.  It looks remarkably like the dress
that she made out of the curtains down to the color
and the asymmetrical sleeves.  How accurate is this to
the movie?  I've always admired the costumes Walter
Plunkett did for Vivien Leigh so wondered how close a
copy this is?

                                 Cassandra



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To: "'Historical Costume'" <h-costume@indra.com>
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How does one full wool?  I have some camel hair/sheeps
wool coating weight wool for an Edwardian cape with
lots of cording couched down.  How do I full the wool?
***************

Unless you wove it yourself, the wool has already been fulled during the
manufacturing process.

If you want it to shrink, be heavier and tighter (also smaller!),
machine wash in hot water with mild detergent, then machine dry. This is
called felting, not fulling.

Kim

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Kim Baird wrote:
> If you want it to shrink, be heavier and tighter (also smaller!),
> machine wash in hot water with mild detergent, then machine dry. This is
> called felting, not fulling.

This must be one of those cases of a need for precision, because the 
Online Webster's isn't particularly useful in figuring out the 
difference; they're mostly synonymous.  (See below.)

Could you expand on the difference for us?

Thanks,
cv

Main Entry: full
Function: transitive verb
Etymology: Middle English, from Middle French fouler to trample under 
foot, from Medieval Latin fullare to walk, trample, full, from Latin 
fullo fuller
Date: 14th century
: to shrink and thicken (woolen cloth) by moistening, heating, and pressing

Main Entry: felt
Function: transitive verb
Date: 14th century
1 : to make out of or cover with felt
2 : to cause to adhere and mat together
3 : to make into felt or a similar substance

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

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Date: Fri, 10 Oct 2003 17:19:58 -0700
Subject: Re: [h-cost] Databases, IP, and contractual law (WAS: Re: h-costume
	Digest, Vol 2, Issue 643)
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Please guys, can this discussion go private? It's been several days now.

thank you.

Arlys


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From: "Kim Baird" <kbaird@cableone.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] fulling wool?/cording patterns/Butterick Gone with
	theWind pattern
Date: Fri, 10 Oct 2003 20:02:42 -0500
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I think the difference is one of degree.

Most commercial woolen cloth is fulled. That is, it has been treated to
fluff up the fabrics, shrink the weave and thicken the fabric. But this
is only done to a certain extent, to make a nicer fabric. You wouldn’t
want to use wool just off the loom for most applications. If you could
see wool fabric before and after fulling, you would find the "before"
wool unfamiliar, but the "after" wool would look normal, what you are
used to seeing.

Felting, when it refers to woven woollens, is taking the same process
further, as far as it will go. The resulting fabric is thick and a bit
stiff. You probably can't even see the weave. It is more expensive
(think Austrian boiled wool jackets) because the wool doesn't go as far,
and the extra processing time and effort also add to the cost.

Fulling and felting are not done with cotton, linen or other plant
fibers. They won't felt, the fibers are too smooth. If you look at wool
under a microscope, you will see it is scaly, like a fish. Heat,
pressure and agitation cause the little scales on the wool fibers to get
all stuck together, which is why you can make a fabric from wool by
simply felting. You don't have to spin and weave or knit it. It's not as
durable, but is thick and warm.

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Cynthia Virtue
Sent: Friday, October 10, 2003 7:01 PM
To: Historical Costume
Subject: Re: [h-cost] fulling wool?/cording patterns/Butterick Gone with
theWind pattern

Kim Baird wrote:
> If you want it to shrink, be heavier and tighter (also smaller!),
> machine wash in hot water with mild detergent, then machine dry. This
is
> called felting, not fulling.

This must be one of those cases of a need for precision, because the 
Online Webster's isn't particularly useful in figuring out the 
difference; they're mostly synonymous.  (See below.)

Could you expand on the difference for us?

Thanks,
cv

Main Entry: full
Function: transitive verb
Etymology: Middle English, from Middle French fouler to trample under 
foot, from Medieval Latin fullare to walk, trample, full, from Latin 
fullo fuller
Date: 14th century
: to shrink and thicken (woolen cloth) by moistening, heating, and
pressing

Main Entry: felt
Function: transitive verb
Date: 14th century
1 : to make out of or cover with felt
2 : to cause to adhere and mat together
3 : to make into felt or a similar substance

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

If we don't believe in freedom of expression for people we despise, we 
don't believe in it at all.
                                -- Noam Chomsky
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: MDRF meetup
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Hi. If you guys are in the area, drive a little further down to St. 
Maries City and visit some other h-costers. We'll be doing the Grand 
Muster (1640s period) then... Cheers, Mike T.


>
>
>
>> Greetings, all!
>>
>> So far, there are 4-ish of us who will be at MDRF on 10/18-19.
>>
>> We're meeting at 1:30 PM Saturday, October 18, at the White Hart Inn.
>>
>> Don't know about a Big Red M or a Big Red H...maybe, if I have time.  
>> (yeah, right.)
>>
>
>
>
>

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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] EEBO and the British Manuscripts Project 
Date: Fri, 10 Oct 2003 18:29:41 -0700
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Dawn wrote:
>
> Not many people seem to know that the contents of the British Museum
> Department of Manuscripts, Cambridge University Library, Public Record
> Office, Lincoln Cathedral, Oxford Bodleian Library and several other
> great collections were microfilmed from 1941-1944 -- to preserve them
> from the threat of war -- and are now in the Library of Congress in
> Washington DC.
>
> The collection can be viewed free, or copies acquired (if you know what
> microfilm reel you want) for the cost of photocopying. The US Govt.
> Printing Office put out an index to part of the colection in 1955. I
> have a reprint from 1966. I don't know of any that were printed after
> that date. It's called "The British Manuscripts Project".
>

It truly amazes me that so many people have made such an effort to preserve
and make available these documents. I mean, I scanned my copy of Stubbes and
it was a pain in the ass to do so yet some of these projects would add up to
hundreds and thousands of probably millions of pages, boring tedious work,
time consuming and expensive work, and we can view it even if it takes some
effort!  I may have been carrying on and on but I'm a bit awestruck at the
moment.  The magnitude of the EEBO really changed my perspective on a number
of issues.  Thanks for the info on the British Manuscript project, I did
know or at least didn't recall that.  The Public Record Office has a starch
contract that I've been meaning to order a copy of.

I may have pissed quite a few people off, but my jaw is still dropped and
I'm still drooling!  I can only claim temporary insanity!


Lisa Sinervo
www.thrednedlestrete.com


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  the difficulty in obtaining and etc.
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	<000b01c38eaa$f49e37a0$7f38a5d1@pavilion>
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Hi. I follow the line of logic in this way. There are many copies of a 
particular work, and each, because of the vagaries of Renaissance 
printing, are different. Some may be bound with other works, others may 
contain errata or have missing pages. A particular book, say, in the 
posession of the British Library, having a catalog number of BL 107-2b, 
is that book. Others may exist, but copying that identifiable book is 
essentially stealing a portion of the value of that book, or using it in 
a way not consistent with the wishes of the owner. I had a similar 
problem. A book dealer in England whose name I will not mention managed 
to get a photocopy of an English Civil War Drill manual from me, 
ostensibly for study and comparison. He promised to send me the text 
portion in exchange, for the same purpose. I found later that he was 
marketing the complete text. I have never gotten the text portion, and I 
suspect that he doesn't want to part with the marketable parts. I wish I 
knew which library the material came from, and I'd send them a note. I 
own a few original books, and I would be loathe to let someone copy 
them, for fear they would make money on my investment without cutting me 
in. I didn't author the books, the authors are long gone, yet they are 
my investment, to do with as I wish. Just my few thoughts..., Mike T.


>  
>

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Okay I think I see the difference.  I'm used to
thinking of felting as matting the fibers together
without weaving them first.  If I run the wool through
the washer/dryer once it will thicken and shrink.  If
I do this more than once the shrinking and thickening
will continue?  I do plan on doing samples first as
this wool seems to fray more than the other coating
weight wools I have on hand.  Would the addition of
the camel's hair be the difference?  I got the wool
with the camel's hair added a long time ago because it
wasn't as scratchy as the other woolens available
then.  Is camel's hair wool softer because the camel's
hair is smoother?  As this seems to fray quite a bit
how would I finish the seams?  I'm not intending to
line this but may find I need to to cover over the
couching stitches on the underside.  Where can I get
soutache braid or something similar in large
quantities?  I don't think I want soutache as it has
the channel down the center but something along those
lines would be great.  I envision some non-slippery
matt finish cord or perhaps a narrow woven braid a
quarter inch wide or less.  Would lucet cord work? 
And what is lucet cord?  How is it made?  I know it is
supposed to be good for corset laces but I'm rather
vague on it other than that one reference.
                                      Thanks,
                                      Cassandra

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Just in case someone has trouble finding it...B & J Fabric is now on the second floor of 525 7th Ave on the corner of 38th St.  I found what I needed there.  Thanks
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From: Michelle Plumb <mplumb@wideopenwest.com>
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Subject: [h-cost] More recommendations from Bjarne?
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Status: RO

Thanks for the embroidery book suggestions, Bjarne.  They arrived this week.

I've also ordered some Eterna Silk floss, so that leaves one other item.

What would you recommend as a good fabric for the beginner to work on?  I 
have tons of Jobelin from my mother's cross-stitching days, will that do?

Thanks for all your advice,
Michelle
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Subject: [h-cost] Du Barry VS Antoinette Films
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I have been holding these questions for a long time now.... waiting for the
right moment to ask.  Seems like we need a change of topic, so here they
are:

Last spring I got to see the films Madame DuBarry and Marie Antoinette.  I
do not know a lot about this time period but had lots of questions.

1. How historically factual are the films?

2. The films seem to overlap one another.  Did these lives in reality?

3. Was Marie really framed for the jewelry or was that just Hollywood?

4. I know Marie was the costume designer, Adrian's, greatest accomplishment
as a designer.  How accurate were the costumes? I really enjoyed the men's
costumes and the hairstyles of everyone.

5. Was Marie groomed to be a queen her whole life?

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


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Subject: [h-cost] Copyright yet again - A learning Experience
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Status: RO

I disagree that we should drop this line, or that we should throttle it at
birth as it comes up every few months.  H-Costume has a constantly changing
group of readers.  Just because some of us have seen this discussion again
and again doesn't mean that the 50 or so new people who have joined the
group since the last iteration have.  We need to keep educating people.

Yes, I understand they could read it all in the archives, the truth is that
they won't.  I think a better idea is that copyright issues should be
plainly marked in the Subject line, and for all but the digest users, a
liberal use of the delete button will solve the problem of unwanted posts.

Personally I learn things every time it comes up and I've been a subscriber
for several years.  If Lisa hadn't posted about EEBO I wouldn't have known
about it at all and I might be able to use it in a limited way.  (Horrors!
What a thought.  Actual use of the scholarship that is locked up out there
by the great unwashed public, unblessed by the academic priesthood!  Next
they will be putting computers in the hands of Users!)

Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Sue Clemenger
> Sent: Friday, October 10, 2003 5:35 AM
> To: Historical Costume
> Subject: Re: [h-cost] the difficulty
> inobtainingandsharingprimarycostumingsources
>
>
> Oh, yeah....
> Can we please drop this line? This sort of futile wrangling seems to
> happen every time that copyright issues get brought up.  And while I
> know the these issues are a very valid concern to researchers in general
> (let alone those of us who love historical costumes in one way or
> another), this discussion has obviously dissolved into some
> interpersonal crankiness.  If the arguers feel the need to continue it,
> ad infinitum, could they please take it off-list at least? That way, it
> won't be clogging my inbox with stuff I have to just delete anyway.
> Thanks,
>


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Status: RO

Cascio Michael wrote:
> If I run the wool through
> the washer/dryer once it will thicken and shrink.  If
> I do this more than once the shrinking and thickening
> will continue?

It will get to one point and then stop.  You can measure the width and 
length of your fabric after each iteration and then you'll have an idea 
of how much more you can expect.  For example, a blanket I did, it 
shrank 6" in one direction after the first cycle, and then only 1" on 
that same direction the next time.  I decided it was likely not going to 
shrink much on a third time, so I stopped there.

>  I do plan on doing samples first as
> this wool seems to fray more than the other coating
> weight wools I have on hand.  Would the addition of
> the camel's hair be the difference? 

I would expect it was the weave, more likely.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

These geeks used to be called Trekkies, but now insist on the less 
derogatory term Trekkers, which is the image control equivalent of 
adding a koala bear to the Nazi flag.  --  Seanbaby
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <HGEEKKPFPKOJBDPGKLOCMEOLHHAA.wandap@hevanet.com>
Subject: ILLing EEBO Books - Re: [h-cost] Copyright yet again - A learning
	Experience
Date: Sat, 11 Oct 2003 06:51:52 -0700
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Status: RO

Thanks Regina,

I think the next thing to investigate is whether one can obtain EEBO via an
interlibrary loan.  For those who aren't aware of the EEBO service, these
books are mirco filmed images of the original books translated into pdf
files..  No added footnotes, title pages, editorial comments, layout
changes, translations, illustrations or bibliographies and you compile the
choice of downloads yourself when you save and burn to your CD.  They offer
pure unadultrated copies of the books with no fancy digital cleanups either,
and around 100,000 to choose from.  I was just astounded at the investment
made to this project and how risky it could possible be for them.  I still
am, but I'm really greatful that the project is up and running anyway.

I think it is very important not to assume the worst about someone who is
simply observing loopholes in systems as if some scheme is about to hatch.
That's not always the case and it diverts the subject of copyright into
something entirely different.

Long life the EEBO!!

Lisa Sinervo
www.thrednedlestrete.com






----- Original Message -----
From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 11, 2003 1:05 AM
Subject: [h-cost] Copyright yet again - A learning Experience


> I disagree that we should drop this line, or that we should throttle it at
> birth as it comes up every few months.  H-Costume has a constantly
changing
> group of readers.  Just because some of us have seen this discussion again
> and again doesn't mean that the 50 or so new people who have joined the
> group since the last iteration have.  We need to keep educating people.
>
> Yes, I understand they could read it all in the archives, the truth is
that
> they won't.  I think a better idea is that copyright issues should be
> plainly marked in the Subject line, and for all but the digest users, a
> liberal use of the delete button will solve the problem of unwanted posts.
>
> Personally I learn things every time it comes up and I've been a
subscriber
> for several years.  If Lisa hadn't posted about EEBO I wouldn't have known
> about it at all and I might be able to use it in a limited way.  (Horrors!
> What a thought.  Actual use of the scholarship that is locked up out there
> by the great unwashed public, unblessed by the academic priesthood!  Next
> they will be putting computers in the hands of Users!)
>
> Regina Romsey
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Sue Clemenger
> > Sent: Friday, October 10, 2003 5:35 AM
> > To: Historical Costume
> > Subject: Re: [h-cost] the difficulty
> > inobtainingandsharingprimarycostumingsources
> >
> >
> > Oh, yeah....
> > Can we please drop this line? This sort of futile wrangling seems to
> > happen every time that copyright issues get brought up.  And while I
> > know the these issues are a very valid concern to researchers in general
> > (let alone those of us who love historical costumes in one way or
> > another), this discussion has obviously dissolved into some
> > interpersonal crankiness.  If the arguers feel the need to continue it,
> > ad infinitum, could they please take it off-list at least? That way, it
> > won't be clogging my inbox with stuff I have to just delete anyway.
> > Thanks,
> >
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Sat Oct 11 10:19:25 2003
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Subject: Re: [h-cost] Kid leather for binding corsets?
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Saragrace, this is one of those "not very helpful" answers, but I know 
a lot of my classmates have gotten gorgeous leather hides in Napa.  
Much finer than anything you could get in a store.  Perhaps searching 
for "leather" and "Napa county" would find you some good results.  I'll 
ask them for names too, but it may be a while!

.heather.


On Wednesday, October 8, 2003, at 01:18 PM, Chiara wrote:

> There is no single color, they all very in shades of light brown. I 
> guess
> if you squint real hard it could be a gold yellow color. ;)
>
> Mine have never bled, why would they sell it for washing and buffing 
> cars
> if it were dyed? That would defeat the purpose of cleaing the car to 
> get
> dye on it from the wipe.
>
> Chiara
>
>> Were you able to get the chamois in its natural color...most of the 
>> ones
>> I have seen are dyed a sort of golden brown which bleeds...?
>>
>>
>> _______________________________________________
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>
>
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Subject: Re: [h-cost] fulling wool?/cording patterns/Butterick Gone
	withtheWind  pattern
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Status: RO

Mmmm...but is there a distinction between commercial woolens and
commercial worsteds? I've noticed that the worsteds I've purchased are
much smoother and un-fluffy (sort of a "well, duh", I know, since those
are characteristics of worsteds).  But they do fluff up some when I wash
them in the machine (deliberately).  I've noticed that when I purchased
them, the bolt-ends usually indicated "dryclean only," I'm assuming to
preserve the worsted characteristics?
I realize I'm rambling <g>, but I've recently gotten interested in
things fibrous, as I'm learning to spin, and finding out all about the
different processes you put wool through to make it a woolen or a
worsted, not to mention preferred types of wool and all.  Does anyone
happen to know if modern commercial worsteds react to washing and
fulling and dyeing and whatnot (procedures involving water) in the same
ways that historical worsteds would have?
--sue, who eventually wants to spin and weave her own yard goods for
historical costume....

Kim Baird wrote:
> 
> I think the difference is one of degree.
> 
> Most commercial woolen cloth is fulled. That is, it has been treated to
> fluff up the fabrics, shrink the weave and thicken the fabric. But this
> is only done to a certain extent, to make a nicer fabric. You wouldn’t
> want to use wool just off the loom for most applications. If you could
> see wool fabric before and after fulling, you would find the "before"
> wool unfamiliar, but the "after" wool would look normal, what you are
> used to seeing.
> 
> Felting, when it refers to woven woollens, is taking the same process
> further, as far as it will go. The resulting fabric is thick and a bit
> stiff. You probably can't even see the weave. It is more expensive
> (think Austrian boiled wool jackets) because the wool doesn't go as far,
> and the extra processing time and effort also add to the cost.
> 
> Fulling and felting are not done with cotton, linen or other plant
> fibers. They won't felt, the fibers are too smooth. If you look at wool
> under a microscope, you will see it is scaly, like a fish. Heat,
> pressure and agitation cause the little scales on the wool fibers to get
> all stuck together, which is why you can make a fabric from wool by
> simply felting. You don't have to spin and weave or knit it. It's not as
> durable, but is thick and warm.
> 
> Kim
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Cynthia Virtue
> Sent: Friday, October 10, 2003 7:01 PM
> To: Historical Costume
> Subject: Re: [h-cost] fulling wool?/cording patterns/Butterick Gone with
> theWind pattern
> 
> Kim Baird wrote:
> > If you want it to shrink, be heavier and tighter (also smaller!),
> > machine wash in hot water with mild detergent, then machine dry. This
> is
> > called felting, not fulling.
> 
> This must be one of those cases of a need for precision, because the
> Online Webster's isn't particularly useful in figuring out the
> difference; they're mostly synonymous.  (See below.)
> 
> Could you expand on the difference for us?
> 
> Thanks,
> cv
> 
> Main Entry: full
> Function: transitive verb
> Etymology: Middle English, from Middle French fouler to trample under
> foot, from Medieval Latin fullare to walk, trample, full, from Latin
> fullo fuller
> Date: 14th century
> : to shrink and thicken (woolen cloth) by moistening, heating, and
> pressing
> 
> Main Entry: felt
> Function: transitive verb
> Date: 14th century
> 1 : to make out of or cover with felt
> 2 : to cause to adhere and mat together
> 3 : to make into felt or a similar substance
> 
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
> 
> If we don't believe in freedom of expression for people we despise, we
> don't believe in it at all.
>                                 -- Noam Chomsky
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>
>
>I mean, I scanned my copy of Stubbes and
>it was a pain in the ass to do so yet some of these projects would add up to
>hundreds and thousands of probably millions of pages, boring tedious work,
>time consuming and expensive work
>
If you want a rough idea of what it cost them, search the net for people 
who sell scanning services and, if the text is not an image, for people 
who do proofreading. Some contractors post their hourly rates on their 
sites. This does not of course cover the costs of setting up and 
maintaining a database and a website, computer hardware and software, 
overhead, and so on. 

Fran

------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance

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Can anyone point me in the direction of fairly detailed information about
fulling techniques in the Middle Ages?  What period did fulling mills come
into use?  Was fabric 'wauked' before mills came into use?  Anything else?

Many thanks

Freyalyn
"If you're gonna ask someone to save the world, make sure they like it the
way it is". (XC, 2002)

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Subject: RE: [h-cost] fulling wool/lucet cord cording
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Okay I think I see the difference.  I'm used to
thinking of felting as matting the fibers together
without weaving them first.  If I run the wool through
the washer/dryer once it will thicken and shrink.  If
I do this more than once the shrinking and thickening
will continue?
****************
Probably. Give it a try.

  I do plan on doing samples first as
this wool seems to fray more than the other coating
weight wools I have on hand.  Would the addition of
the camel's hair be the difference
************************
I know different types of wool (from different sheep) felt differently.
Some work better than others, I assume because some wools are smoother,
some are scalier. If camel's hair is actually HAIR, it won't felt at
all.

All you can do is try washing and see what happens.

Kim


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] More recommendations from Bjarne?
Date: Sat, 11 Oct 2003 20:43:12 +0200
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Michelle.
I looked for the word Jobelin in my dictionary, but it was not there. What
is it?
If you want to do satin stitch praktising, then i suggest you use a close
wowen fabric. Taffeta is ideal, or dupioni silk is also good. If you dont
have that, then use a close wowen fabric, and a light coloured two.
Then you have to use a frame two, you must keep your fabric tight.
And start with some simple patterns first. Like the flower in the book from
Royal School of Needlework.


Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 11, 2003 6:47 AM
Subject: [h-cost] More recommendations from Bjarne?


> Thanks for the embroidery book suggestions, Bjarne.  They arrived this
week.
>
> I've also ordered some Eterna Silk floss, so that leaves one other item.
>
> What would you recommend as a good fabric for the beginner to work on?  I
> have tons of Jobelin from my mother's cross-stitching days, will that do?
>
> Thanks for all your advice,
> Michelle
> _______________________________________________
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Subject: Re: [h-cost] Du Barry VS Antoinette Films
Date: Sat, 11 Oct 2003 21:19:45 +0200
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Dear Penny,
Nice topic this is very interresting.
I must say i admire Adrian and his work, but as for accuracy in costume,
there is two much theatrical / dramatical design in it. Two much Hollywood.
But this was the case in all costume making those days. You must remember
that they did not have all the books we have these days, where we can se the
construktions.
Madame Dubarry was Marie Antoinettes father in law's misstress. She hated
Dubarry, and there was a cold war between them. It was the etikette for
ladies of the court, never to speak to the queen, unless she had spoken to
you first. And Marie Antoineetes, mouth was shot in quite a long time. The
story ended in a chrisis, and the king, (louis XIV insisted Marie
Antoinette, to speak to Dubarry)
It was a great tragedy to Marie Antoinette, that she had to follow the kings
order.
The Affair of the necklace was one of the reasons, that the people hated the
monarky. Marie Antoinette was taken to a trial at court for this, but she
was innoscent.
You can see more of this in the moovie Affair of the necklace.
If you would like to read a good book about the time, then i warmly would
recomend you to read Stefan Zweig's book Marie Antoinette.
In my youth i swallowed this book, and i loved it so much, it really is
exciting reading.
Marie Antoinette was merried in 1770 to the future Louix XVI. She became
queen in 1774. She was living a very innoscent life without any knoledge to
the reality. France was starving and she spended a lot of money. She was
known to live a very private life in her small castle Petite Trianon with a
few friends.
Every month there was presented pillows to her bedchamber with fabric
samplers, and there was made a lot of dresses for her each month. More than
50 dresses each month for different occations.
The lady who made her dresses became very popular as a designer, she was
called minister of fashion, Rose Bertin.
Under the revolution, when she was taken to the Temple, (prison) she
organised an escape with her lover the swedish Count Fersen. They planed to
escape with her husband the king, and their two children. But the carriage
they made for this escape was much two extravagant and slow speeded, so the
whole escape failed. They were caught in the city of Varennes.
Marie Antoinette was groomed to be queen until the revolution, after this,
she was made a simple citicen called Capet. She was taken to the guillotine
in 1793.

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" <h-costume@indra.com>
Sent: Saturday, October 11, 2003 7:07 AM
Subject: [h-cost] Du Barry VS Antoinette Films


> I have been holding these questions for a long time now.... waiting for
the
> right moment to ask.  Seems like we need a change of topic, so here they
> are:
>
> Last spring I got to see the films Madame DuBarry and Marie Antoinette.  I
> do not know a lot about this time period but had lots of questions.
>
> 1. How historically factual are the films?
>
> 2. The films seem to overlap one another.  Did these lives in reality?
>
> 3. Was Marie really framed for the jewelry or was that just Hollywood?
>
> 4. I know Marie was the costume designer, Adrian's, greatest
accomplishment
> as a designer.  How accurate were the costumes? I really enjoyed the men's
> costumes and the hairstyles of everyone.
>
> 5. Was Marie groomed to be a queen her whole life?
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
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Thank you very much, Bjarne!

I have a lot of taffeta in my upstairs fabric stash.
(Yes, there is a downstairs fabric stash, too.)

There's the stash in the utlity room as well as the one under the bed,
and then there's my yarn and spinning fibers.....   <ggg>

Michelle
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To: Historical Costume <h-costume@indra.com>,
   Historical Costume <h-costume@indra.com>
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Kid leather for binding corsets?
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At 07:18 AM 10/11/2003 -0700, Heather Meadows wrote:
>Saragrace, this is one of those "not very helpful" answers, but I know 
>a lot of my classmates have gotten gorgeous leather hides in Napa.  
>Much finer than anything you could get in a store.  Perhaps searching 
>for "leather" and "Napa county" would find you some good results.  I'll 
>ask them for names too, but it may be a while!
>
>That woud be the Hide and Leather House in Napa, California.  I buy all my
leather from them.  They're now online, too, at www.hidehouse.com.

Margo

"One Tough Costumer"

www.margospatterns.com
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Kid leather for binding corsets?
Date: Sat, 11 Oct 2003 17:04:13 -0700
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Oh thank you both!

[Sg] Heather and Margo, Thank you both

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Subject: Re: [h-cost] Kid leather for binding corsets?
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From: Heather Meadows <alice@wonderland.com>
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Oooh they're online!  excellent.

Thanks, Margo!  I knew you'd know.


On Saturday, October 11, 2003, at 03:50 PM, Margo Anderson wrote:

> At 07:18 AM 10/11/2003 -0700, Heather Meadows wrote:
>> Saragrace, this is one of those "not very helpful" answers, but I know
>> a lot of my classmates have gotten gorgeous leather hides in Napa.
>> Much finer than anything you could get in a store.  Perhaps searching
>> for "leather" and "Napa county" would find you some good results.  
>> I'll
>> ask them for names too, but it may be a while!
>>
>> That woud be the Hide and Leather House in Napa, California.  I buy 
>> all my
> leather from them.  They're now online, too, at www.hidehouse.com.
>
> Margo
>
> "One Tough Costumer"
>
> www.margospatterns.com
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] fulling wool/lucet cord cording
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Cascio Michael wrote:

> lines would be great.  I envision some non-slippery
> matt finish cord or perhaps a narrow woven braid a
> quarter inch wide or less.  Would lucet cord work? 
> And what is lucet cord?  How is it made?  I know it is
> supposed to be good for corset laces but I'm rather
> vague on it other than that one reference.

Here are some lucet links:

http://kws.atlantia.sca.org/photos/lucet/lucet.html
http://www.nwta.com/couriers/8-97/lucet.html

There are a couple of books that show variations on the basic cord, but 
these two sites should get you started if you want to make lucetted 
cording.  It's easy to make.

--Charlene

-- 
PEDIATRIC REFLECTION
Many an infant that screams like a calliope
Could be soothed by a little attention to its diope.
--Ogden Nash, Hard Lines, 1931

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From h-costume-bounces@indra.com  Sun Oct 12 09:13:37 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] More recommendations from Bjarne?
Date: Sun, 12 Oct 2003 15:12:27 +0200
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I did answer this yesterday, but i did not receive my own answer, so i dont
know if you got it.
I looked up the word Jobelin in my dictionary, but there was not any words
with that.
If you would like to praktise with your stitchings in silk, i would recomend
you to use another tight wowen fabric, either silk like taffeta or dupioni
is also good.
Then you should use a frame either a real one or just a hoop frame.
Fabric for the use of cross stitches is not good. It is much two open a
fabric to use for satin stitches.
Hope this helps.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Michelle Plumb" <mplumb@wideopenwest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, October 11, 2003 6:47 AM
Subject: [h-cost] More recommendations from Bjarne?


> Thanks for the embroidery book suggestions, Bjarne.  They arrived this
week.
>
> I've also ordered some Eterna Silk floss, so that leaves one other item.
>
> What would you recommend as a good fabric for the beginner to work on?  I
> have tons of Jobelin from my mother's cross-stitching days, will that do?
>
> Thanks for all your advice,
> Michelle
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Subject: Re: [h-cost] Du Barry VS Antoinette Films
Date: Sun, 12 Oct 2003 15:16:25 +0200
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Strange thing happening with my posts. I got this yesterday, but it came
again today.
I answered it yesterday evening, but i have not got my own respond, so here
it goes again.




Dear Penny,
Nice topic this is very interresting.
I must say i admire Adrian and his work, but as for accuracy in costume,
there is two much theatrical / dramatical design in it. Two much Hollywood.
But this was the case in all costume making those days. You must remember
that they did not have all the books we have these days, where we can se the
construktions.
Madame Dubarry was Marie Antoinettes father in law's misstress. She hated
Dubarry, and there was a cold war between them. It was the etikette for
ladies of the court, never to speak to the queen, unless she had spoken to
you first. And Marie Antoineetes, mouth was shot in quite a long time. The
story ended in a chrisis, and the king, (louis XIV insisted Marie
Antoinette, to speak to Dubarry)
It was a great tragedy to Marie Antoinette, that she had to follow the kings
order.
The Affair of the necklace was one of the reasons, that the people hated the
monarky. Marie Antoinette was taken to a trial at court for this, but she
was innoscent.
You can see more of this in the moovie Affair of the necklace.
If you would like to read a good book about the time, then i warmly would
recomend you to read Stefan Zweig's book Marie Antoinette.
In my youth i swallowed this book, and i loved it so much, it really is
exciting reading.
Marie Antoinette was merried in 1770 to the future Louix XVI. She became
queen in 1774. She was living a very innoscent life without any knoledge to
the reality. France was starving and she spended a lot of money. She was
known to live a very private life in her small castle Petite Trianon with a
few friends.
Every month there was presented pillows to her bedchamber with fabric
samplers, and there was made a lot of dresses for her each month. More than
50 dresses each month for different occations.
The lady who made her dresses became very popular as a designer, she was
called minister of fashion, Rose Bertin.
Under the revolution, when she was taken to the Temple, (prison) she
organised an escape with her lover the swedish Count Fersen. They planed to
escape with her husband the king, and their two children. But the carriage
they made for this escape was much two extravagant and slow speeded, so the
whole escape failed. They were caught in the city of Varennes.
Marie Antoinette was groomed to be queen until the revolution, after this,
she was made a simple citicen called Capet. She was taken to the guillotine
in 1793.

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" <h-costume@indra.com>
Sent: Saturday, October 11, 2003 7:07 AM
Subject: [h-cost] Du Barry VS Antoinette Films


> I have been holding these questions for a long time now.... waiting for
the
> right moment to ask.  Seems like we need a change of topic, so here they
> are:
>
> Last spring I got to see the films Madame DuBarry and Marie Antoinette.  I
> do not know a lot about this time period but had lots of questions.
>
> 1. How historically factual are the films?
>
> 2. The films seem to overlap one another.  Did these lives in reality?
>
> 3. Was Marie really framed for the jewelry or was that just Hollywood?
>
> 4. I know Marie was the costume designer, Adrian's, greatest
accomplishment
> as a designer.  How accurate were the costumes? I really enjoyed the men's
> costumes and the hairstyles of everyone.
>
> 5. Was Marie groomed to be a queen her whole life?
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
> _______________________________________________
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Date: Sun, 12 Oct 2003 06:27:52 -0700
Subject: Re: [h-cost] More recommendations from Bjarne?
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I think you mean Gobelin(e) stitches. Try that.

Arlys

On Sun, 12 Oct 2003 15:12:27 +0200 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> I did answer this yesterday, but i did not receive my own answer, so 
> i dont
> know if you got it.
> I looked up the word Jobelin in my dictionary, but there was not any 
> words
> with that.
> If you would like to praktise with your stitchings in silk, i would 
> recomend
> you to use another tight wowen fabric, either silk like taffeta or 
> dupioni
> is also good.
> Then you should use a frame either a real one or just a hoop frame.
> Fabric for the use of cross stitches is not good. It is much two 
> open a
> fabric to use for satin stitches.
> Hope this helps.
> 
> Bjarne
> 
> 
> 
> 
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> ----- Original Message -----
> From: "Michelle Plumb" <mplumb@wideopenwest.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Saturday, October 11, 2003 6:47 AM
> Subject: [h-cost] More recommendations from Bjarne?
> 
> 
> > Thanks for the embroidery book suggestions, Bjarne.  They arrived 
> this
> week.
> >
> > I've also ordered some Eterna Silk floss, so that leaves one other 
> item.
> >
> > What would you recommend as a good fabric for the beginner to work 
> on?  I
> > have tons of Jobelin from my mother's cross-stitching days, will 
> that do?
> >
> > Thanks for all your advice,
> > Michelle
> > _______________________________________________
> > 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: Sun, 12 Oct 2003 10:22:24 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historic Costume List <h-costume@indra.com>
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I know that at least a few people on this list will be at the Known World
Costume Symposium. I'll be there as a guest speaker (and probably pretty
easy to spot -- I'll be one of two people not in costume at the ball, the
other being Tawny Sherrill, the other guest speaker). It would be great if
other h-cost people would put a red H on your name badge -- I'd love to
meet some of you f2f.

I'm giving two classes. My morning "feature" lecture on how the Victorians
mucked up modern costume scholarship is not on the posted class grid, so
it's easy to miss. My afternoon lecture covers the Gothic fitted dress and
(as a bonus) the Greenland gowns.

Hope to see some of you at the event...

--Robin

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Date: Sat, 11 Oct 2003 09:53:03 -0700
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Kid leather for binding corsets?
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At 7:18 AM -0700 10/11/03, Heather Meadows wrote:
>Saragrace, this is one of those "not very helpful" answers, but I 
>know a lot of my classmates have gotten gorgeous leather hides in 
>Napa.  Much finer than anything you could get in a store.  Perhaps 
>searching for "leather" and "Napa county" would find you some good 
>results.  I'll ask them for names too, but it may be a while!

Napa Hide and Leather
595 Monroe
Napa, CA (zip?)
(707) 255-6160

While they primarily cater to the wholesale trade (e.g., garment 
manufacturers), I've always found them quite happy to deal with 
random walk-in customers.  They often have a "scrap bin" of off-cuts 
or lesser-grade leather sold by the pound at quite reasonable prices. 
(When I teach my "easy no-sew barbarian shoes" classes in the SCA, I 
can sometimes get class supplies there cheap enough that people can 
walk away from my class with a pair of shoes for $5, although that's 
the low end of the range and they don't always have suitable 
materials in the cheap bins.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Re: Cording patterns/lucet cord
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At 3:39 PM -0700 10/10/03, Cascio Michael wrote:
>This has made me wonder about cording patterns?  And
>couching patterns?  How old is couching or braided
>cord as a trimming?  Not gold or precious metals but
>just cord or braided cordings, not necessarily tablet
>weaving, just braiding.  Any good websites or books?

There are lots of pictures of clothing with couched cord trim from 
the 16th century if not earlier -- I'd say to look for 
Edwardian-style cording patterns in some of the many 
Victorian/Edwardian reprints. You may not find enlarged drawings 
labeled "cording pattern" but most of them aren't too hard to 
reproduce from a picture of finished clothing -- that's where most of 
my 16th-c. patterns come from.

It's not an era I know anything about, but I think you"d be okay with 
lucet cord for Edwardian, and it really is easy to make. There are 
ways to make flat cording on a lucet as well as the round/square 
stuff. Unfortunately making one's own cording seems to be about the 
only way these days to get cording that isn't rayon, polyester or 
otherwise icky. (And some of the synthetic stuff snags easily, or 
gets ruined if you try to clean it.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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At 3:39 PM -0700 10/10/03, Cascio Michael wrote:
>This has made me wonder about cording patterns?  And
>couching patterns?  How old is couching or braided
>cord as a trimming?  Not gold or precious metals but
>just cord or braided cordings, not necessarily tablet
>weaving, just braiding.  Any good websites or books?

There are lots of pictures of clothing with couched cord trim from 
the 16th century if not earlier -- I'd say to look for 
Edwardian-style cording patterns in some of the many 
Victorian/Edwardian reprints. You may not find enlarged drawings 
labeled "cording pattern" but most of them aren't too hard to 
reproduce from a picture of finished clothing -- that's where most of 
my 16th-c. patterns come from.

It's not an era I know anything about, but I think you"d be okay with 
lucet cord for Edwardian, and it really is easy to make. There are 
ways to make flat cording on a lucet as well as the round/square 
stuff. Unfortunately making one's own cording seems to be about the 
only way these days to get cording that isn't rayon, polyester or 
otherwise icky. (And some of the synthetic stuff snags easily, or 
gets ruined if you try to clean it.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
_______________________________________________
h-costume mailing list
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Subject: Re: [h-cost] EEBO
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 --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > The EEBO stands for
Early English Books Online and is a project that has
> collected over 100,000 books from 1475-1600.  

No, that is incorrect. 
The fact is that it goes up to 1700.

Nicole

=====
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http://www.kipar.org/society/author/pirates/

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

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 --- Lisa Sinervo <Lisa-list@threadneedlest.com> wrote: > Well Nicole, I think
you might notice that this email from me had a change
> in style from the previous ones, not serious, and contains an end to the
> story.  These little clues give a pretty good indication that the subject
> had reached its conclusion from my end.

Well, Lisa, and I would appreciate it if you stopped being patronising. I do
not suffer that gladly. Thank you. In fact, I am thoroughly put off.

Nicole
P.S. To actually give this - shockingly - an h-cost content, I went to a lovely
wedding this weekend, everyone was in historical costume of all periods, the
banquet was historical foods throgh the ages and all was held in a medieval
barn. The bride's Victorian dress was stunning! (and I was still stitching on
the bodice at 2 am... with her finishing it off at 7 am..no sleep for the bride)

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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Subject: [h-cost] "Henry VIII" on TV tonight
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Ok, so I watched the first episode of the new ITV drama, "Henry VIII."
It took me about 20 minutes to work it out.
Ernie Wise wrote this, didn't he?

(For our US friends, Ernie Wise was half of a successful comedy duo, 
Morecambe and Wise. Every week, Ernie would write a 'play' and they would 
get a famous person to star in it. Peter Cushing, Diana Rigg, Glenda 
Jackson, all took part. The plays were universally awful, the history 
deliberately wrong, and played for laughs).

This series has a gobsmacking series of great actors, all wasted, every 
one. Ray Winstone, as the King, couldn't quell his Cockney accent. Helena 
Bonham-Carter, as Anne Boleyn, looked wrong and was far too old. The 
history was wrong. As I had suspected, they took the popular view of Henry, 
and forgot that he was a highly intelligent, highly educated man. It was so 
hackneyed you could hear it creaking.
The grammar was wrong. There were so many mistakes in the grammar that a 
good editor would probably die laughing.
The costumes were appalling, the women wearing hair all over the place, 
dangling free (I think they felt that virgins had loose hair, but they 
didn't, not until about fifty years later. Hell, what's fifty years?) Some 
of the court were wearing that particular shade of blue that, in Tudor 
times, was reserved for servants, even Henry himself.

Anyone else see this?



Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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From h-costume-bounces@indra.com  Sun Oct 12 18:00:24 2003
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Fran challenged Lisa on the subject of works in public domain to come up
with an alternative.  I think the answer to this is "Dover".  Dover has for
years published somewhat obscure out-of-copyright works at reasonable
prices.  The key here is "reasonable prices".  This discussion started with
the discovery of the EEBO, its great selection and its expensive price.  If
people could access the parts that interested them for a reasonable fee,
none of us would have any interest in re-publishing the text for their
friends or society at large.

Several years ago, when Dover first started reprinting Norris' works, which
had been out of print for a number of years, a number of costume people who
had laboriously Xeroxed a  copy from a friend or the library bought a nice
new professionally published version, since it was easier to use and not
expensive.  Few, if any, of us on this list could afford $3000 for a
subscription to the entire EEBO.  Few of us would quibble at paying $10 to
$30 for an individual article that we would find useful and the EEBO would
be getting income that they are not getting now.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com
> That is a very good question that I have only recently been thinking
about,
> and I definetly think it needs to be addressed at a legislative level.  Of
> course socialism would solve the whole problem :) -
>
> But really, I don't know.  How does one paid for the services provided by
> someone putting infromation into circulation without depriving the public
of
> their rights to republish public domain material?  >
> >
> >
> > >I just think there should be some other way to protect people's
> > >investment in making public domain material available than the flimsy
> > >copyright/contracts that are in existence today.
> > >
> >
> > What do you suggest as an alternative?

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Lynne Connolly wrote:
> Some of the court were wearing that particular shade of blue that, in 
> Tudor times, was reserved for servants, even Henry himself.

Didn't see it -- but could you describe the blue?  I've long been idly 
curious which blue it was.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

These geeks used to be called Trekkies, but now insist on the less 
derogatory term Trekkers, which is the image control equivalent of 
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On 23:44 12/10/2003 Cynthia Virtue said
>Didn't see it -- but could you describe the blue?  I've long been idly 
>curious which blue it was.

You were lucky not to see it! A sort of cobalt, mid blue.


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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From h-costume-bounces@indra.com  Sun Oct 12 19:53:48 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: <LLEALCLGCCEBKHIGEMPOOEAKCIAA.marthakelly@nyc.rr.com>
Subject: Martha the patternmaker - Re: [h-cost] Re. sharing commercial
	patterns
Date: Sun, 12 Oct 2003 16:56:37 -0700
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This is really interesting Martha.  How long have you been making commercial
patterns for Simplicity?  Are you responsible for any historic patterns?

Lisa Sinervo

----- Original Message -----
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@net.indra.com>
Sent: Thursday, October 09, 2003 3:45 PM
Subject: [h-cost] Re. sharing commercial patterns


> May I put in a personal note about the commercial pattern companies. I
> design for Simplicity.
>
> I really know very little about the business end of things at the company
> because I'm a free-lancer and deal with them more as an outsider.  But
there
> are a couple of things to consider.  Many of the costume patterns are
> designed by free-lancers who make a (meager) living on royalties.  When
> people share patterns, it's hard on us.  Furthermore, if a certain number
of
> patterns don't sell each quarter, the design is pulled from the catalogue.
> And that puts an end to our income from it.  Unlike smaller companies that
> can sell the same patterns for years and years, the Big Three have only so
> many pages in the catalogue and only so many slots in the drawer at
JoAnn's.
>
> The Big Three aren't as big as you think. Old and established, yes - but
> you'd be surprised how few people man the fort and how hard they work.
We're
> not discussing General Motors here.
>
> Martha
>
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: Fran Grimble <fran@lavoltapress.com>
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	inobtainingandsharingprimarycostumingsources-
	was lawsuit over reselling	ofcommercialpatterns
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	<200310092212.h99MCJaw016002@jefferson.patriot.net><002c01c38ebb$06865000$7f38a5d1@pavilion><3F85F9E4.9000203@lavoltapress.com>
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Janet Davis wrote:

> I think the answer to this is "Dover".  Dover has for
>years published somewhat obscure out-of-copyright works at reasonable
>prices.  
>
Also, Dover publishes new books--anthologies of older material and  new 
books by modern authors.

>The key here is "reasonable prices".  
>
Dover owns their own printing plant, which I suspect helps their 
printing costs a lot. 

They can also afford to print enormous runs, if they wish, and they have 
the distribution to sell those runs. (Most bookstores carry Dover 
books.) This helps because certain book costs are the same no matter how 
many copies are printed, which others (such as paper) vary with the 
number of copies. If you print a huge run the unit cost is lower, and 
therefore the book price can be lower.  Provided you can sell that many 
books.

Note, however, that in these things Dover is a very big business. No 
small or even midsize business can hope to match their costs or their 
distribution--therefore their prices.

There is one other thing about Dover's prices.  Dover tends to publish 
short books (ones with a low page count).  Not all their books are 
short. But a lot of them are, enough for this to be a significant factor 
in their pricing and peoples' perceptions of "Dover prices."

If you want to compare book prices, you need to compare books that are 
roughly the same in terms of:

Trim size (there's more in an 8 1/2 by 11 inch book than a 6 by 9 inch book)
Illustrated or nonillustrated book  (one with only a handful of 
illustrations I'd count as nonillustrated for simplicity)
If illustrated, are the illustrations color (which costs the most), or 
black and white?

The books don't really need to be the same page count, because for this 
type of very rough estimation you can do arithmetic. Divide the book's 
cover price by the number of pages to get a per-page price.  To compare 
this to another, non-Dover book, again, divide the price by the number 
of pages.

I suspect Dover picks their projects carefully here. The content of some 
books dictates a high page count--a short book would not be as good of a 
book. Dover may well be consciously avoiding at least some big projects 
to keep prices down.

>This discussion started with
>the discovery of the EEBO, its great selection and its expensive price. 
>
My understanding was that the EEBO price was paid by libraries, not 
individuals. If you access EEBO from a library, do you pay anything?. 

> If
>people could access the parts that interested them for a reasonable fee,
>none of us would have any interest in re-publishing the text for their
>friends or society at large.
>
As a general rule, not specifiically related to EBO:  Just because 
something is not available at a price you can afford, does not make it 
ethical or legal to take it.  You won't get everything you want in life, 
nor do you "deserve" to.

>
>Several years ago, when Dover first started reprinting Norris' works, which
>had been out of print for a number of years, a number of costume people who
>had laboriously Xeroxed a  copy from a friend or the library bought a nice
>new professionally published version, since it was easier to use and not
>expensive.  
>
Actually, photocopying is not only a poor production method, it's 
expensive, significantly more expensive than offset printing. 

Before the Dover books came out I had old editions of Norris I bought 
used, BTW, which weren't horriby hard to find or afford.

>Few, if any, of us on this list could afford $3000 for a
>subscription to the entire EEBO.
>
I don't think EEBO even sells individual subscriptions, unless I missed 
something.

>  Few of us would quibble at paying $10 to
>$30 for an individual article that we would find useful and the EEBO would
>be getting income that they are not getting now.
>
If you want the EEBO to change their sales strategy to allow a different 
type of access, perhaps you could email them and suggest it?.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From h-costume-bounces@indra.com  Sun Oct 12 21:06:50 2003
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From: Gail & Scott Finke <gailscott@eos.net>
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Thanks, Bjarne, for all that information about Marie Antoinette.

Anyone interested in her being "groomed for being a queen" might enjoy the
book "Crowned in a Far Country" by Princess Michael of Kent. It's a breezy
little book about eight women who became queens of other countries (one of
them Marie A.). It's not scholarly, but it's an enjoyable look at these
women and the kind of lives they led. If I remember -- it's been a few years
since I read it, but I just checked and it's still in print -- most of them
were not much liked by their new countries. Many of them were very unhappy.
I don't remember a lot of specifics about Marie Antoinette, but I do
remember that she didn't like French food and ate a lot of bread and milk.
And that, as Bjarne said, she led such an isolated life that she really
didn't know what was going on in the rest of the country. Reading it will
give  you a very different idea of what royal life was like in the 1700s and
1800s, how a princess was raised, and what she could expect out of life.

Gail Finke


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From h-costume-bounces@indra.com  Sun Oct 12 21:57:39 2003
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From: "chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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	<001c01c3911c$7a3f81c0$fad1aec7@pavilion>
Subject: Re: Martha the patternmaker - Re: [h-cost] Re. sharing
	commercialpatterns
Date: Sun, 12 Oct 2003 20:53:40 -0500
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Status: RO

I am sure you did not mean to sound rude and I hope that Martha did not take
it that way.

But I have to agree with her as any other person on this list that has, like
myself, ever worked at a serious fabric store. We all know that if a pattern
does not get ordered enough we can expect it to get "pulled" and will never
make a come back.

And before you request my credentials, I worked for Hancock Fabrics for 2
years and was a manager trainee in Austin Texas.

If nothing else I hope that freelancers like Martha can retain reprinting
rights to their patterns as part of the deal so that once their patterns get
pulled they can reprint them else where.

At least for historical patterns, that would be a boon for most of us. :)

Chiara
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 12, 2003 6:56 PM
Subject: Martha the patternmaker - Re: [h-cost] Re. sharing
commercialpatterns


: This is really interesting Martha.  How long have you been making
commercial
: patterns for Simplicity?  Are you responsible for any historic patterns?
:
: Lisa Sinervo
:
: ----- Original Message -----
: From: "Martha Kelly" <marthakelly@nyc.rr.com>
: To: <h-costume@net.indra.com>
: Sent: Thursday, October 09, 2003 3:45 PM
: Subject: [h-cost] Re. sharing commercial patterns
:
:
: > May I put in a personal note about the commercial pattern companies. I
: > design for Simplicity.
: >
: > I really know very little about the business end of things at the
company
: > because I'm a free-lancer and deal with them more as an outsider.  But
: there
: > are a couple of things to consider.  Many of the costume patterns are
: > designed by free-lancers who make a (meager) living on royalties.  When
: > people share patterns, it's hard on us.  Furthermore, if a certain
number
: of
: > patterns don't sell each quarter, the design is pulled from the
catalogue.
: > And that puts an end to our income from it.  Unlike smaller companies
that
: > can sell the same patterns for years and years, the Big Three have only
so
: > many pages in the catalogue and only so many slots in the drawer at
: JoAnn's.
: >
: > The Big Three aren't as big as you think. Old and established, yes - but
: > you'd be surprised how few people man the fort and how hard they work.
: We're
: > not discussing General Motors here.
: >
: > Martha
: >
: >
: >
: >
: > _______________________________________________
: > 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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Message-ID: <000c01c39130$e9cd27e0$bb34a5d1@pavilion>
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
References: 
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Subject: Wierd responses - Re: Martha the patternmaker - Re: [h-cost] Re.
	sharingcommercialpatterns
Date: Sun, 12 Oct 2003 19:22:54 -0700
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Well no, Chiara I didn't mean to be rude to Martha.  And for the life of my
I can't see how saying  "This is really interesting Martha.  How long have
you been making commercial patterns for Simplicity?  Are you responsible for
any historic patterns?" could be construded as being rude at all.

Lisa Sinervo

----- Original Message -----
From: "chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 12, 2003 6:53 PM
Subject: Re: Martha the patternmaker - Re: [h-cost] Re.
sharingcommercialpatterns


> I am sure you did not mean to sound rude and I hope that Martha did not
take
> it that way.
>
> But I have to agree with her as any other person on this list that has,
like
> myself, ever worked at a serious fabric store. We all know that if a
pattern
> does not get ordered enough we can expect it to get "pulled" and will
never
> make a come back.
>
> And before you request my credentials, I worked for Hancock Fabrics for 2
> years and was a manager trainee in Austin Texas.
>
> If nothing else I hope that freelancers like Martha can retain reprinting
> rights to their patterns as part of the deal so that once their patterns
get
> pulled they can reprint them else where.
>
> At least for historical patterns, that would be a boon for most of us. :)
>
> Chiara
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, October 12, 2003 6:56 PM
> Subject: Martha the patternmaker - Re: [h-cost] Re. sharing
> commercialpatterns
>
>
> : This is really interesting Martha.  How long have you been making
> commercial
> : patterns for Simplicity?  Are you responsible for any historic patterns?
> :
> : Lisa Sinervo
> :
> : ----- Original Message -----
> : From: "Martha Kelly" <marthakelly@nyc.rr.com>
> : To: <h-costume@net.indra.com>
> : Sent: Thursday, October 09, 2003 3:45 PM
> : Subject: [h-cost] Re. sharing commercial patterns
> :
> :
> : > May I put in a personal note about the commercial pattern companies. I
> : > design for Simplicity.
> : >
> : > I really know very little about the business end of things at the
> company
> : > because I'm a free-lancer and deal with them more as an outsider.  But
> : there
> : > are a couple of things to consider.  Many of the costume patterns are
> : > designed by free-lancers who make a (meager) living on royalties.
When
> : > people share patterns, it's hard on us.  Furthermore, if a certain
> number
> : of
> : > patterns don't sell each quarter, the design is pulled from the
> catalogue.
> : > And that puts an end to our income from it.  Unlike smaller companies
> that
> : > can sell the same patterns for years and years, the Big Three have
only
> so
> : > many pages in the catalogue and only so many slots in the drawer at
> : JoAnn's.
> : >
> : > The Big Three aren't as big as you think. Old and established, yes -
but
> : > you'd be surprised how few people man the fort and how hard they work.
> : We're
> : > not discussing General Motors here.
> : >
> : > Martha
> : >
> : >
> : >
> : >
> : > _______________________________________________
> : > 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 h-costume-bounces@indra.com  Sun Oct 12 22:32:22 2003
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From: "chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Re: Martha the patternmaker
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I have to agree with her as any other person on this list that has, like
myself, ever worked at a serious fabric store. We all know that if a pattern
does not get ordered enough we can expect it to get "pulled" and will never
make a come back.

If nothing else I hope that freelancers like Martha can retain reprinting
rights to their patterns as part of the deal so that once their patterns get
pulled they can reprint them else where.

At least for historical patterns, that would be a boon for most of us. :)

Chiara
----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 12, 2003 6:56 PM
Subject: Martha the patternmaker - Re: [h-cost] Re. sharing
commercialpatterns


: This is really interesting Martha.  How long have you been making
commercial
: patterns for Simplicity?  Are you responsible for any historic patterns?
:
: Lisa Sinervo
:
: ----- Original Message -----
: From: "Martha Kelly" <marthakelly@nyc.rr.com>
: To: <h-costume@net.indra.com>
: Sent: Thursday, October 09, 2003 3:45 PM
: Subject: [h-cost] Re. sharing commercial patterns
:
:
: > May I put in a personal note about the commercial pattern companies. I
: > design for Simplicity.
: >
: > I really know very little about the business end of things at the
company
: > because I'm a free-lancer and deal with them more as an outsider.  But
: there
: > are a couple of things to consider.  Many of the costume patterns are
: > designed by free-lancers who make a (meager) living on royalties.  When
: > people share patterns, it's hard on us.  Furthermore, if a certain
number
: of
: > patterns don't sell each quarter, the design is pulled from the
catalogue.
: > And that puts an end to our income from it.  Unlike smaller companies
that
: > can sell the same patterns for years and years, the Big Three have only
so
: > many pages in the catalogue and only so many slots in the drawer at
: JoAnn's.
: >
: > The Big Three aren't as big as you think. Old and established, yes - but
: > you'd be surprised how few people man the fort and how hard they work.
: We're
: > not discussing General Motors here.
: >
: > Martha

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From h-costume-bounces@indra.com  Sun Oct 12 22:44:23 2003
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Martha the patternmaker
Date: Sun, 12 Oct 2003 19:47:13 -0700
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Status: RO

I was simply interested in Martha's work as a patternmaker, I was not
doubting her view at all.  Sometimes I wonder if people on this list put
boxing gloves on before reading the incoming mail.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "chiara" <chiara@io.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 12, 2003 7:31 PM
Subject: [h-cost] Re: Martha the patternmaker


> I have to agree with her as any other person on this list that has, like
> myself, ever worked at a serious fabric store. We all know that if a
pattern
> does not get ordered enough we can expect it to get "pulled" and will
never
> make a come back.
>
> If nothing else I hope that freelancers like Martha can retain reprinting
> rights to their patterns as part of the deal so that once their patterns
get
> pulled they can reprint them else where.
>
> At least for historical patterns, that would be a boon for most of us. :)
>
> Chiara
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, October 12, 2003 6:56 PM
> Subject: Martha the patternmaker - Re: [h-cost] Re. sharing
> commercialpatterns
>
>
> : This is really interesting Martha.  How long have you been making
> commercial
> : patterns for Simplicity?  Are you responsible for any historic patterns?
> :
> : Lisa Sinervo
> :
> : ----- Original Message -----
> : From: "Martha Kelly" <marthakelly@nyc.rr.com>
> : To: <h-costume@net.indra.com>
> : Sent: Thursday, October 09, 2003 3:45 PM
> : Subject: [h-cost] Re. sharing commercial patterns
> :
> :
> : > May I put in a personal note about the commercial pattern companies. I
> : > design for Simplicity.
> : >
> : > I really know very little about the business end of things at the
> company
> : > because I'm a free-lancer and deal with them more as an outsider.  But
> : there
> : > are a couple of things to consider.  Many of the costume patterns are
> : > designed by free-lancers who make a (meager) living on royalties.
When
> : > people share patterns, it's hard on us.  Furthermore, if a certain
> number
> : of
> : > patterns don't sell each quarter, the design is pulled from the
> catalogue.
> : > And that puts an end to our income from it.  Unlike smaller companies
> that
> : > can sell the same patterns for years and years, the Big Three have
only
> so
> : > many pages in the catalogue and only so many slots in the drawer at
> : JoAnn's.
> : >
> : > The Big Three aren't as big as you think. Old and established, yes -
but
> : > you'd be surprised how few people man the fort and how hard they work.
> : We're
> : > not discussing General Motors here.
> : >
> : > Martha
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Sun Oct 12 23:12:07 2003
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Subject: [h-cost] cleaning white kid gloves
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I know I've seen suggestions on the list for this before, but it's been 
quite a while, so....
I've just acquired a pair of over-the-elbow length vintage white kid 
gloves.  While they are in generally good condition (soft leather, no 
rips), they are quite dirty.  Does anyone have a good method for cleaning 
these?  I need to avoid shrinking them, as they just 'barely' fit now.  I 
know they stretch a bit as you wear them, but would hate to spend time and 
effort cleaning them and then not be able to wear them.

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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I've heard that a good way to clean kid gloves is to put them on and wash
your hands with a mild soap while wearing them.  Then keep them on for a
while as they dry. This keeps them from shrinking or stiffening too
much.

 Note--I haven't tried this myself; just heard a friend mention it.

Drea

On Sun, 12 Oct 2003, Pierre & Sandy Pettinger wrote:

> I know I've seen suggestions on the list for this before, but it's been
> quite a while, so....
> I've just acquired a pair of over-the-elbow length vintage white kid
> gloves.  While they are in generally good condition (soft leather, no
> rips), they are quite dirty.  Does anyone have a good method for cleaning
> these?  I need to avoid shrinking them, as they just 'barely' fit now.  I
> know they stretch a bit as you wear them, but would hate to spend time and
> effort cleaning them and then not be able to wear them.
>
> 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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From: "Tonkin, Rebecca (PIRSA-SARDI)" <tonkin.rebecca@saugov.sa.gov.au>
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Subject: [h-cost] woolen worsted fulling felting
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Hi:
Some information that may be helpful when working with wool.

There are 2 major types of wool cloth - worsteds and woolens. Major
characteristics:
Worsteds - use longer wool (longer fibre length)
- the wool is carded after washing, then combed to align the fibres
- drawn into a thin strand, with fibres parallel
- spun into strong thin yarn with a tighter twist
- woven into materials for suits & dresses, like gabardine or crepe
- material are lighter, springier, smooth to touch and the surface is not
fuzzy
- may have some fulling incorporated as part of the finishing process

Woolens - use shorter fibres
- carded only
- drawn into a strand with fibres "as they come"
- spun into a bulkier yarn with a soft twist
- commonly used for knitted goods and carpets
- material is coarser, the fibre ends protrude, the fabric is weaker and
thicker than worsteds and the weave structure may be hidden by surface
fibres

Felt is made commercially from the short fibres combed out of worsteds - the
noil. The noil is spread in thin layers (webs) and basically pounded
together with heat, soap/detergent and agitation until the fibres are locked
together in a tight mat. 

Fulling is like doing a little bit of felting - enough so that the fibres
hook together a bit, and fraying is inhibited, but not enough that the weave
loses it's structure. It also uses heat, soap/detergent, and agitation.
Frequently there is some shrinking of the cloth as the fibres draw together.
Usually after you have reached a certain point, the material stops fulling
as all free fibres have become "locked" and the rest are firmly in the
threads.

Now, the degree to which fulling affects your fabric depends on what type it
is. Worsteds like gabardine often do not change a lot - they become a bit
softer, a bit fuzzier and may shrink a little. Woolens, on the other hand,
shrink a lot more, and tend to become more like felt (depending on the
original weave) as they have more loose ends to mat up, and often a looser
structure to begin with. 

The worsted/woolen factor also affects the "comfort factor" - whether the
fabric itches or not. Wool itches (this is separate from any allergy issues)
when there are enough fibres of large enough diameter to prick into the skin
and irritate the nerve endings. For most people, wool with more than 5%
fibres over 30 microns in diameter will itch. (CSIRO Australia.)
Worsted fabrics are frequently made from finer wools, and the tighter yarn
spin and aligned fibres mean that there are less ends sticking out of the
cloth to prick the skin.
Woolens, with the non-aligned fibres and loose twist have a lot more ends
sticking out, and more potential to irritate.

This information all applies to modern wools, but may be helpful when
deciding which of the modern types available would best suit your particular
project. 

Rebecca

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From h-costume-bounces@indra.com  Mon Oct 13 03:53:23 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <BBAF70E1.B963%gailscott@eos.net>
Subject: Re: [h-cost] Re: marie antoinette
Date: Mon, 13 Oct 2003 09:53:56 +0200
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Hi.
As an example i could tell you, that Marie Antoinette in all the years she
spended in France, never came to the countryside. She only stayed in Paris
and except for a few times, where she travelled to Fontainebleau. And then
off cause when she tryed to escape.
She played with washed lambs in Petite Trianon, and thoaght she was a real
peassant.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Monday, October 13, 2003 2:58 AM
Subject: [h-cost] Re: marie antoinette


>
> Thanks, Bjarne, for all that information about Marie Antoinette.
>
> Anyone interested in her being "groomed for being a queen" might enjoy the
> book "Crowned in a Far Country" by Princess Michael of Kent. It's a breezy
> little book about eight women who became queens of other countries (one of
> them Marie A.). It's not scholarly, but it's an enjoyable look at these
> women and the kind of lives they led. If I remember -- it's been a few
years
> since I read it, but I just checked and it's still in print -- most of
them
> were not much liked by their new countries. Many of them were very
unhappy.
> I don't remember a lot of specifics about Marie Antoinette, but I do
> remember that she didn't like French food and ate a lot of bread and milk.
> And that, as Bjarne said, she led such an isolated life that she really
> didn't know what was going on in the rest of the country. Reading it will
> give  you a very different idea of what royal life was like in the 1700s
and
> 1800s, how a princess was raised, and what she could expect out of life.
>
> Gail Finke
>
>
> _______________________________________________
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] "Henry VIII" on TV tonight
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Yes, I saw it. I'd been intending to start a thread on this if no-one
else did. 

I'd heard a critic say in a preliminary review on the radio that the
King's London accent was rather obvious, so I was prepared for that. 
I'm not an expert on Tudor costume, but I thought Helena B-C  looked
ridiculous with all that hair flopping about - even when she wore a
headdress, there was too much hair showing round her face. It was even
worse than the headwear in "The other Boleyn girl" which we criticised a
few months ago. As someone said, it's as though a leading lady can't be
allowed to have all her hair hidden.

Kate Bunting
Library, University of Derby

>>> lynneconnolly@ntlworld.com 10/12/03 09:59pm >>>
Ok, so I watched the first episode of the new ITV drama, "Henry VIII."
It took me about 20 minutes to work it out.
Ernie Wise wrote this, didn't he?
(snip)
Anyone else see this?



Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/ 
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/>
Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck



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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: "Historical Costume" <h-costume@indra.com>
References: <20031012232616.S11460-100000@shell.siscom.net>
Subject: Re: [h-cost] cleaning white kid gloves
Date: Mon, 13 Oct 2003 10:29:54 +0100
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you also need to add glycerine to the final rinsing water and when you take
them off to try put them on a soft towel and every so often put them on
gently and ease the leather this will stop them going hard.

Being a glove maker and collector I've done this several times with no
problems

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716

> I've heard that a good way to clean kid gloves is to put them on and wash
> your hands with a mild soap while wearing them.  > > quite a while, so....
> > I've just acquired a pair of over-the-elbow length vintage white kid
> > gloves.  While they are in generally good condition (soft leather, no
> > rips), they are quite dirty.  Does anyone have a good method for
cleaning
> > these?


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Hello.
I have a question. The cutting informations of the french weddingsuit of
GustavIII recomends to use interlining in something called toile tailleur. I
have no idea what that might be, but in swedish it is called vattulin.
As i recall my schooldays where we had tailor education, i remember using
some stuff of a mixture of wool and linen, very stiff fabric, we used for
interlinning in coats and jackets. It was not an iron on stuff, but it had
to be piquéed on.
When i use this heavy rich duchesse satin for the suit, would it then really
be nescesary to use this interlining?
would it not be better to use an ordinary linen or perhaps cotton?
Any suggestions are happily received.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Mon, 13 Oct 2003 13:14:07 +0100 (BST)
From: =?iso-8859-1?q?N=20Kipar?= <nicolas_fouquet@yahoo.com>
Subject: Re: [h-cost] toile tailleur
To: Historical Costume <h-costume@indra.com>
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 --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote: > Hello.
> I have a question. The cutting informations of the french weddingsuit of
> GustavIII recomends to use interlining in something called toile tailleur. I
> have no idea what that might be, but in swedish it is called vattulin.
> As i recall my schooldays where we had tailor education, i remember using
> some stuff of a mixture of wool and linen, very stiff fabric, we used for
> interlinning in coats and jackets. It was not an iron on stuff, but it had
> to be piquéed on.
> When i use this heavy rich duchesse satin for the suit, would it then really
> be nescesary to use this interlining?
> would it not be better to use an ordinary linen or perhaps cotton?
> Any suggestions are happily received.

personally I would use it, unless tacking it on poses too much of a problem for
the silk. When I made Ben's 1700- uniform I interlined with the heavy linen
canvas, despite using a superb, thick worsted wool that was so dense I had to
hand sew with pliers to get the needle through. I think it makes a difference
in the way it falls and wears.

Nicole

=====
Cap'n Cat of the good ship 'Harlot'
http://www.kipar.org/society/author/pirates/

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

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Hi all,

Having just taken a look at the web site for this exhibition at

http://www.vam.ac.uk/vastatic/microsites/1220_gothic/introduction.php

I feel moved to offer sofa space to any h-coster able to beg, steal,
borrow or generally liberate a plane ticket to London between now and
January 18th when the exhibition ends. There are apparently objects
never seen before outside private homes, and likely not to be seen
again after the exhibition ends....

enjoy

Stevie



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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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On Mon, 13 Oct 2003, Stevie Gamble wrote:

> http://www.vam.ac.uk/vastatic/microsites/1220_gothic/introduction.php
> 
> I feel moved to offer sofa space to any h-coster able to beg, steal,
> borrow or generally liberate a plane ticket to London between now and
> January 18th when the exhibition ends. There are apparently objects
> never seen before outside private homes, and likely not to be seen
> again after the exhibition ends....

Sigh. I've been surfing this site for months. I know a few of the speakers
at the conference portion of the program (which is sometime this month,
might be over by now). I am jealous, jealous, jealous of anyone who can be
there. There was a time when I could have just dropped everything and
trotted off, but now with two kids, a traveling spouse, a business, and
lecture trips, that's no longer possible. Sigh. Someone go and look well
on my behalf, OK?

--Robin


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To: "Martha Kelly" <h-costume@indra.com>
From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: [h-cost] Re. designing commercial patterns
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When I saw your first name was Martha and you worked with
Simplicity, I wondered if you did the Martha McCain patterns.
They are quite lovely. Didn't you also do the cotehardie and
sideless surcoat? Or am I getting confused?

Teena




---- On Mon, 13 Oct 2003, Martha Kelly (marthakelly@nyc.rr.com)
wrote:

> Yes, I design historic patterns for Simplicity.  My line is
Martha McCain,
> Fashion Historian.  So far, it's all been mid-19th century
women.  I'm
> working on men's things now.
> 
> Somebody said something to the effect of "spare a tree, save
the gas - share
> a pattern."  Was that you, Lisa?  I wasn't offended.  I was
just putting out
> a plea for "buy a pattern, save a designer." When I read
discussions of The
> Big Three, I get visions of a huge industrial complex with
Wolf forms as far
> as the eye can see. I wonder if people would be amused to know
about all the
> free-lancers at home burning the midnight oil.
> 
> Chiara, I need you for my agent.  I am such a lousy business
person, I never
> even thought of retaining reprinting rights to my designs.
That seems like a
> wonderful idea.  Since my background is theatre, I guess I
think of my work
> as temporary.
> 
> Martha
> 
> 
> 
> _______________________________________________
> 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>
To: "Historical Costume" <h-costume@indra.com>
References: <LLEALCLGCCEBKHIGEMPOCEBHCIAA.marthakelly@nyc.rr.com>
Subject: Re: [h-cost] Re. designing commercial patterns
Date: Mon, 13 Oct 2003 06:46:46 -0700
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Status: RO

Ooohh, I've got bunches of your patterns, and I don't even do that era.
There just on my shelf to look at.  Very nice!

I was the one who mentioned saving trees on patterns, but it was out of the
conversation that came from a group of professional custom clothiers who
asked the president of McCalls if he really expected them to buy two
patterns if sewing the same dress for two bridesmaids, because
realistically, no one did that.  It was not a sharing pattern question, just
a may I use it twice question.  The president of McCalls was there to
promote his patterns, yes, to professional seamstresses even though the
patterns probably say not for commercial purposes.  These people weren't
using them for complete ready to wear lines but for custom work and he
wanted their business, the I'll look the other way if you use it twice was
just another selling point to buy from McCalls.

I'd really baulk myself at being told I had to buy a duplicate pattern if I
wanted to make another garment for someone else if I owned the pattern
already because of the waste, and because of my limited shelf space etc, but
I would not be so adverse to going online and paying a small fee if they
required me doing so.  I wish CD's were like that too.  A little program
could run that would connect you online to a site where you could pay the
creator for their work instantly if you wanted to share it with a friend.

Do you plan on doing other eras too?  I know your patterns have very nice
reputation and are very popular, infact the best of the historic commerical
patterns around for the price.

Lisa Sinervo
www.thrednedlestrete.com




----- Original Message -----
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: <h-costume@net.indra.com>
Sent: Monday, October 13, 2003 6:15 AM
Subject: [h-cost] Re. designing commercial patterns


> Yes, I design historic patterns for Simplicity.  My line is Martha McCain,
> Fashion Historian.  So far, it's all been mid-19th century women.  I'm
> working on men's things now.
>
> Somebody said something to the effect of "spare a tree, save the gas -
share
> a pattern."  Was that you, Lisa?  I wasn't offended.  I was just putting
out
> a plea for "buy a pattern, save a designer." When I read discussions of
The
> Big Three, I get visions of a huge industrial complex with Wolf forms as
far
> as the eye can see. I wonder if people would be amused to know about all
the
> free-lancers at home burning the midnight oil.
>
> Chiara, I need you for my agent.  I am such a lousy business person, I
never
> even thought of retaining reprinting rights to my designs. That seems like
a
> wonderful idea.  Since my background is theatre, I guess I think of my
work
> as temporary.
>
> Martha
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: Re: [h-cost] Re: Martha the patternmaker
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---- On Sun, 12 Oct 2003, Lisa Sinervo
(Lisa-list@threadneedlest.com) wrote:

> Sometimes I wonder if people on this list put
> boxing gloves on before reading the incoming mail.
> 
> Lisa Sinervo
> www.thrednedlestrete.com

As a mostly-lurker on this list, I have noticed on more than a
few occasions that people get their heads bitten off by others
on the list. It has happened to me once as well and is probably
one of the reasons I don't post much. 

I think it is important to remember that we are all on this list
for the same reason... To learn and share with others regarding
our common interest of historic costume. We are of different
nationalities, different socio-economic situations, and
different levels of skill and success with regards to our mutual
hobby. People come and go and something talked to death two
years ago might be a completely new topic to many on this list
now. I decide what I want to read and what I do not want to read
based on the subject line. Perhaps it would be better to vote
with your delete button rather than post something rude that
makes the poster look bad and the reader feel bad.

Just my 2 cents for what its worth.

Teena

P.S. I also didn't see what was rude about Lisa asking Martha
how long she had been patterning and whether she was doing
historics.... I wanted to know the same thing!
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: "h-costume" <h-costume@net.indra.com>
Date: Mon, 13 Oct 2003 10:05:23 -0400
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When I saw your first name was Martha and you worked with
Simplicity, I wondered if you did the Martha McCain patterns.
They are quite lovely. Didn't you also do the cotehardie and
sideless surcoat? Or am I getting confused?

Teena


Teena

Thank you.  Yes the medieval things were mine.  They were meant to be
costumes, pure and simple.  They have been pulled because sales weren’t good
enough to justify their catalogue space.  I was sorry to see them go because
I thought they were pretty. I meant for them to look like manuscript
illuminations – somewhere between truth and fantasy. The model wore them
well, I thought.

We think they were too difficult (and took too much fabric) for “costumes”
and were not authentic enough for reenactment.  Do you have any other
insight as to why they failed?

Martha


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Subject: Re: [h-cost] Re: Martha the patternmaker
From: "Chiara" <chiara@io.com>
To: <h-costume@indra.com>
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Status: RO

In this current economy we need to support each other

I was commenting on her plight as a pattern maker and what she loses and
how it is very real. Many on this list do not seem to believe that there
are victims of pattern copying no matter how much the majority of us tell
you that it is true.

Respect the makers. Buy their patterns or offer them a job to make them
for us if you have the resources. It helps us all out.

That you all found offense in my defending her stance is taking away from
her very real plight. I have worked for royalties before. You can lose
your car, your house, your life, if you do not make enough when you have
been told and budgeted in the financial amount promised from all the
sources.

Chiara

> ---- On Sun, 12 Oct 2003, Lisa Sinervo
> (Lisa-list@threadneedlest.com) wrote:
>
>> Sometimes I wonder if people on this list put
>> boxing gloves on before reading the incoming mail.
>>
>> Lisa Sinervo
>> www.thrednedlestrete.com
>
> As a mostly-lurker on this list, I have noticed on more than a
> few occasions that people get their heads bitten off by others
> on the list. It has happened to me once as well and is probably
> one of the reasons I don't post much.
>
> I think it is important to remember that we are all on this list
> for the same reason... To learn and share with others regarding
> our common interest of historic costume. We are of different
> nationalities, different socio-economic situations, and
> different levels of skill and success with regards to our mutual
> hobby. People come and go and something talked to death two
> years ago might be a completely new topic to many on this list
> now. I decide what I want to read and what I do not want to read
> based on the subject line. Perhaps it would be better to vote
> with your delete button rather than post something rude that
> makes the poster look bad and the reader feel bad.
>
> Just my 2 cents for what its worth.
>
> Teena
>
> P.S. I also didn't see what was rude about Lisa asking Martha
> how long she had been patterning and whether she was doing
> historics.... I wanted to know the same thing!
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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From h-costume-bounces@indra.com  Mon Oct 13 10:21:19 2003
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To: "Martha Kelly" <h-costume@indra.com>
From: Teena Kessinger  <bkessinger@ureach.com>
Subject: Re: [h-cost] re. designing commercial patterns
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I am surprised that they did! They are selling now on ebay for
quite a bit because they are out of print. I made my first sca
dress from the pattern and I thought it was extremely easy to
construct. The fullness was a little too much in the sides, but
I fixed it by altering the gores. It is a shame that they were
pulled because they were the best of the Medieval on the "big
3". The others just look like "Avalon", "LOTR" or Queen
Amidala.

If I had to guess, I would say it is because the medieval look
isn't as mainstream as the renn faire look. Perhaps the model
was too thin... she looked wonderful, but few of us are built
like her and perhaps people thought it wouldn't look right on
them. The reality, however, is that this pattern was very
flattering to the figure. I have a tummy, but the way it flared
minimized it.

Teena
who, like Lisa, owns many of the 19th cent patterns even though
I don't sew them.





---- On Mon, 13 Oct 2003, Martha Kelly (marthakelly@nyc.rr.com)
wrote:

> When I saw your first name was Martha and you worked with
> Simplicity, I wondered if you did the Martha McCain patterns.
> They are quite lovely. Didn't you also do the cotehardie and
> sideless surcoat? Or am I getting confused?
> 
> Teena
> 
> 
> Teena
> 
> Thank you.  Yes the medieval things were mine.  They were
meant to be
> costumes, pure and simple.  They have been pulled because
sales weren’t good
> enough to justify their catalogue space.  I was sorry to see
them go because
> I thought they were pretty. I meant for them to look like
manuscript
> illuminations – somewhere between truth and fantasy. The model
wore them
> well, I thought.
> 
> We think they were too difficult (and took too much fabric)
for “costumes”
> and were not authentic enough for reenactment.  Do you have
any other
> insight as to why they failed?
> 
> Martha
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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	<10219.199.50.29.41.1066054292.squirrel@webmail.io.com>
Subject: Re: [h-cost] Re: Martha the patternmaker
Date: Mon, 13 Oct 2003 07:28:11 -0700
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Chiara, your comments seemed related to the thread you included which was my
query about Martha's patterns and her career, not about your defense of her
plight as to royalties which is perfectly understandable.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Chiara" <chiara@io.com>
To: <h-costume@indra.com>
Sent: Monday, October 13, 2003 7:11 AM
Subject: Re: [h-cost] Re: Martha the patternmaker


> In this current economy we need to support each other
>
> I was commenting on her plight as a pattern maker and what she loses and
> how it is very real. Many on this list do not seem to believe that there
> are victims of pattern copying no matter how much the majority of us tell
> you that it is true.
>
> Respect the makers. Buy their patterns or offer them a job to make them
> for us if you have the resources. It helps us all out.
>
> That you all found offense in my defending her stance is taking away from
> her very real plight. I have worked for royalties before. You can lose
> your car, your house, your life, if you do not make enough when you have
> been told and budgeted in the financial amount promised from all the
> sources.
>
> Chiara
>
> > ---- On Sun, 12 Oct 2003, Lisa Sinervo
> > (Lisa-list@threadneedlest.com) wrote:
> >
> >> Sometimes I wonder if people on this list put
> >> boxing gloves on before reading the incoming mail.
> >>
> >> Lisa Sinervo
> >> www.thrednedlestrete.com
> >
> > As a mostly-lurker on this list, I have noticed on more than a
> > few occasions that people get their heads bitten off by others
> > on the list. It has happened to me once as well and is probably
> > one of the reasons I don't post much.
> >
> > I think it is important to remember that we are all on this list
> > for the same reason... To learn and share with others regarding
> > our common interest of historic costume. We are of different
> > nationalities, different socio-economic situations, and
> > different levels of skill and success with regards to our mutual
> > hobby. People come and go and something talked to death two
> > years ago might be a completely new topic to many on this list
> > now. I decide what I want to read and what I do not want to read
> > based on the subject line. Perhaps it would be better to vote
> > with your delete button rather than post something rude that
> > makes the poster look bad and the reader feel bad.
> >
> > Just my 2 cents for what its worth.
> >
> > Teena
> >
> > P.S. I also didn't see what was rude about Lisa asking Martha
> > how long she had been patterning and whether she was doing
> > historics.... I wanted to know the same thing!
> > _______________________________________________
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From h-costume-bounces@indra.com  Mon Oct 13 10:32:26 2003
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] "Henry VIII" on TV tonight
Date: Mon, 13 Oct 2003 09:31:15 -0500
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Has anyone heard when this might show on this side of the pond, so we Yanks
might be able to see and critique the costumes? Nothing I like better than a
historical flick, where I can talk back to the TV concerning historical
accuracy visually and factually. BTW, was this a BBC production and is there
a website?

According to Amazon.uk, there is a new biog of Anne Boleyn scheduled for
publication in 2004. No author given, though.

Cindy Abel



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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] re. designing commercial patterns
Date: Mon, 13 Oct 2003 09:33:33 -0500
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Well, from the standpoint of someone who does re-enactment I can say that I
generally draft my own patterns. For me, it's easier to do so than to buy a
pattern and refit it to myself since I'm an odd-sized person (over the
average female height and way under the average weight). I can't remember
the last time I bought a commercial pattern.

Talia

> We think they were too difficult (and took too much fabric) for “costumes”
> and were not authentic enough for reenactment.  Do you have any other
> insight as to why they failed?
>
> Martha

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear Nicole.
Thanks for your answer.
It is incredible, i looked up the swedish word for it on google, and i found
it. It says it was wowen of worsted with some horsehair.
The hoursehair should stick to the fabric.
Is this the same as you call buckram.
As i understand buckram is ironed on?
Anyway, i phoned my fabricshop, and they have it.
And apropos the cutting. I understand now, why they had these fabric joints,
it was because the fabric only meassured 57 cm. in the width. This will come
in handy, as i would not have space on my embroidery frame, for a whole
front jacket.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Martha Kelly wrote:
> We think they were too difficult (and took too much fabric) for “costumes”
> and were not authentic enough for reenactment.  Do you have any other
> insight as to why they failed?

I bought both the dress pattern and the hat pattern, even though I 
didn't have any intention of making them anytime soon.  I recommended 
them to people that wanted a pattern for something medieval -- with the 
gore change (change to 4 quarter-gores, one CF and CB as well as the sides.)

I think what someone else said about the extremely thin model was 
accurate -- it probably scared off women who weren't so willowy.  With a 
modern pattern for current clothing, you're used to seeing similar 
styles on many different sized women in real life, so it's not difficult 
to imagine how it would look on you, even if the model is a size 4 and 
you're a size 22.

It's possible that the silk on the envelope picture also looked too 
expensive for the average costumer, but it sure was pretty.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

These geeks used to be called Trekkies, but now insist on the less 
derogatory term Trekkers, which is the image control equivalent of 
adding a koala bear to the Nazi flag.  --  Seanbaby
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Yes, I design historic patterns for Simplicity.  My line is Martha McCain,
Fashion Historian.  So far, it's all been mid-19th century women.  I'm
working on men's things now.

Somebody said something to the effect of "spare a tree, save the gas - share
a pattern."  Was that you, Lisa?  I wasn't offended.  I was just putting out
a plea for "buy a pattern, save a designer." When I read discussions of The
Big Three, I get visions of a huge industrial complex with Wolf forms as far
as the eye can see. I wonder if people would be amused to know about all the
free-lancers at home burning the midnight oil.

Chiara, I need you for my agent.  I am such a lousy business person, I never
even thought of retaining reprinting rights to my designs. That seems like a
wonderful idea.  Since my background is theatre, I guess I think of my work
as temporary.

Martha



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Subject: RE: [h-cost] "Henry VIII" on TV tonight
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On 15:31 13/10/2003 Cindy Abel said
>BTW, was this a BBC production and is there
>a website?

ITV, the same people who made the dreadful "Boudicca" with Alex Kingston. 
She did her best, poor dear!
I've looked on the ITV site, but I can't find a site for it. Considering 
they spent 6 million on this tosh (pounds, not dollars!) it looks a bit fishy.


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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Testing, 

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Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 10/13/03 03:40pm >>>
 wrote:

>It says it was wowen of worsted with some horsehair.
>The hoursehair should stick to the fabric.
>Is this the same as you call buckram.
>As i understand buckram is ironed on?

I don't think so, Bjarne. Buckram is canvas stiffened with glue, and is
much older than iron-on fabrics. I made a stomacher this way a year or
two ago, with advice from Drea and others, and it has been very
successful. It would be too stiff for lining a gentleman's coat,
though.
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At 04:40 PM 10/13/2003 +0200, Bjarne og Leif Drews wrote:


>It is incredible, i looked up the swedish word for it on google, and i found
>it. It says it was wowen of worsted with some horsehair.
>The hoursehair should stick to the fabric.
>Is this the same as you call buckram.
>
No, this is "hair canvas".

Margo

"One Tough Costumer"

www.margospatterns.com
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New word to me. :-)

Explain, please?
piquéed 

thanks,
Arlys


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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Mon, 13 Oct 2003 10:54:23 -0500
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De lurking to reply to this thread.. Now that is excitement for you.

I'll be flying out Monday next to the UK for two weeks!  I am almost besides
myself at the exhibits that are now open while I'll be there. Not only the
Gothic Art at the V& A but Pepys' London and 1920s: the decade that changed
London at the Museum of London. http://www.museumoflondon.org.uk/   The
LOTR exhibition at the Science Museum
http://www.sciencemuseum.org.uk/exhibitions/lordoftherings/default_flash.asp
And well just everything!

Susan






----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 13, 2003 8:56 AM
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition


>
> On Mon, 13 Oct 2003, Stevie Gamble wrote:
>
> > http://www.vam.ac.uk/vastatic/microsites/1220_gothic/introduction.php
> >
> > I feel moved to offer sofa space to any h-coster able to beg, steal,
> > borrow or generally liberate a plane ticket to London between now and
> > January 18th when the exhibition ends. There are apparently objects
> > never seen before outside private homes, and likely not to be seen
> > again after the exhibition ends....
>
> Sigh. I've been surfing this site for months. I know a few of the speakers
> at the conference portion of the program (which is sometime this month,
> might be over by now). I am jealous, jealous, jealous of anyone who can be
> there. There was a time when I could have just dropped everything and
> trotted off, but now with two kids, a traveling spouse, a business, and
> lecture trips, that's no longer possible. Sigh. Someone go and look well
> on my behalf, OK?
>
> --Robin
>
>
> _______________________________________________
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>

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Subject: [h-cost] Buckram
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My mother always used Horsehair buckram - it wasn't "iron on"  in the kilts 
she made.  worked well.

Mari, coming up for air briefly

>Kate Bunting
>Library, University of Derby
>
> >It says it was wowen of worsted with some horsehair.
> >The hoursehair should stick to the fabric.
> >Is this the same as you call buckram.
> >As i understand buckram is ironed on?
>
>I don't think so, Bjarne. Buckram is canvas stiffened with glue, and is
>much older than iron-on fabrics. I made a stomacher this way a year or
>two ago, with advice from Drea and others, and it has been very
>successful. It would be too stiff for lining a gentleman's coat, though

Mari Stewart
Cornell University


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What you may be looking for is called hair canvas.  I thought it was goat, 
not horse, hair that was used, but I could be wrong.  It is used as interfacing 
for modern tailoring.  What may be causing the confusion is that interfacing 
in the 18th century was more like our modern buckram--it was sized linen.  But 
the list is correct that modern buckram is too stiff to be a good substitute.  
Hair canvas in the U.S. is available both as a fusible and a sew-in product.  
I personally use hair canvas for early 19th century tailoring, but have not 
yet tried any 18th c. coats.
Ann Wass
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] "Henry VIII" on TV tonight/Boudicca
Date: Mon, 13 Oct 2003 11:39:20 -0500
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Thanks for the info/non-info on ITV. Well, not everything's on a website,
though some production pics would've been nice.  "Boudicca" was on
Masterpiece Theatre on PBS stateside last night.  As someone who grew up on
those Hollywood epics where Yanks played the heroes in most of these movies
and Brits played the Romans, I found it interesting that most of the
"Romans" had the poshier accents mostly(at least it sounded so to this
Yank)delivered in a rather effete manner the higher up the Roman social
scale one was, unless you were a basically "good" character.

And did the Emperor Claudius ever really set foot on British soil?  Guess
ITV couldn't snare Sir Derek Jacobi for a reprise of his "I, Claudius" role.

The sets were also pretty interesting--Romans living in kind of modern
industrial, cold grey palatte palaces(yeah, right!) where it looks like it
was always overcast, in an atmosphere where the only emotional charger is
the getting and keeping of power, while the Boudicca Brits apparently never
bathed, and lived like hippies, only sans electricity and other modern
conveniences, ate, drank and made merry when they weren't busy going to war
with each other or the Romans.

Cindy Abel




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Bjarne wrote:


> As i understand buckram is ironed on?


Yes and no:-)

Traditional buckram, which is much used in upmarket and expensive
curtain treatments as well as tailored clothing, can be ironed on
provided it is well and truly soaked so that the glue spreads from the
buckram itself to the fabric. The iron is used only in conjuction with
a soaking wet ironing cloth, and buckram looks and behaves nothing
like modern fusible interlinings.

I do have some proper tailoring buckram which I bought years ago in
the East End at a tailoring suppliers; how much do you need? For a
garment this magnificent I can sacrifice some of my hoard...

best wishes
Stevie

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Subject: Re: [h-cost] re. designing commercial patterns
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Martha Kelly wrote:


> I thought they were pretty. I meant for them to look like manuscript
> illuminations – somewhere between truth and fantasy. The model wore them
> well, I thought.
> 
> We think they were too difficult (and took too much fabric) for “costumes”
> and were not authentic enough for reenactment.  Do you have any other
> insight as to why they failed?

I think they were gorgeous!

You're right about the patterns being difficult, or at least time 
consuming. The skirts had to be pieced from big squares (as I recall) 
and the length was just impractical to wear -- for fun or re-enactment. 
A lot of people who are trying to make these costumes really don't know 
how to alter patterns, even to remove length or take a seam in on the 
side for better fit. They're using a pattern because they need those 
step-by-step directions and they're very uncomfortable making changes.

I would love to see more men's costumes available, the Victorian ones, 
or any era. I buy two of everything these days, one for cutting and one 
for keeping. The men's patterns don't seem to stick around very long, 
sadly. I noticed an awful lot of them went out of print this summer.

Another thing I would like to see are notes on the costume. Something 
about whether it was meant to be historical, and if so what it was based 
on. I had no idea your medieval patterns were supposed to be 
fantasy-ish. That makes a big difference when I write a review of the 
pattern.



Dawn


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> At 04:40 PM 10/13/2003 +0200, Bjarne og Leif Drews wrote:
>
>
>>It is incredible, i looked up the swedish word for it on google, and i
>> found it. It says it was wowen of worsted with some horsehair.
>>The hoursehair should stick to the fabric.
>>Is this the same as you call buckram.
>>
> No, this is "hair canvas".

I agree with Margo.  Hair canvas is what you are describing.  I have also
seen it called "Acro".  It has 12% goat hair and the rest is nylon and
wool or something like that.  I have also seen it in the home decorating
section of my local store and it is something  like 72" wide.

I use this stuff almost exclusively as an interlining.  It adds body
without much weight and I can make a bodice for myself sometimes without
boning or a corset if the fit is right.

Good luck with your search for it!

Diana

P.S. I know that Greenberg & Hammer in New York carries it but I couldn't
find it at their online store.  If you request a catalog, it is in the
interfacings section.


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May I seek your insight?

A couple of you mentioned that the very slender model might be off-putting.
This is something we discuss all the time in the costume/craft department.
We get mail asking for larger sizes and designs suitable for larger women.
When we make them, they don’t sell well enough to stay in the book.

The only not-size-ten I ever made was a Civil War dress worn by a size 20
lady – a BEAUTIFUL size 20 lady! I thought that reenactors, with their
interest in reality, would like to see a dress on a full figure and
Simplicity agreed to give it a try. I had to totally re-think everything,
even build as new dress form just for this outfit.  It was a lot of work. I
thought the model looked great – especially in the corset.  And the pattern
didn’t do well until we remade the dress in silk for a size ten.

There’s a reason models are slim. People must want to see the dresses that
way. It’s an on-going discussion.

Any thoughts?


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At 7:33 AM -0600 10/13/03, h-costume-request@indra.com wrote:
>I have to agree with her as any other person on this list that has, like
>myself, ever worked at a serious fabric store. We all know that if a pattern
>does not get ordered enough we can expect it to get "pulled" and will never
>make a come back.
>
>If nothing else I hope that freelancers like Martha can retain reprinting
>rights to their patterns as part of the deal so that once their patterns get
>pulled they can reprint them else where.

And that is why I trot off to Jo Ann's for the pattern sale and buy 
any I might want some day, 'cause they won't be there when I want 
them!

<G> Supporting 'our' local pattern makers

Carol, who just found where they hid the cardboard pattern storage boxes....
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Subject: Re: [h-cost] Buckram
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Ann -- do you use it for the entire coat?  I was taught in my Tailoring 
classes (for modern pieces)
to use it to support the shoulders and collar, but not the entire 
garment.  Just curious what you
do for 19th century!

thanks

.heather.


On Monday, October 13, 2003, at 09:10 AM, AnnBWass@aol.com wrote:

> What you may be looking for is called hair canvas.  I thought it was 
> goat,
> not horse, hair that was used, but I could be wrong.  It is used as 
> interfacing
> for modern tailoring.  What may be causing the confusion is that 
> interfacing
> in the 18th century was more like our modern buckram--it was sized 
> linen.  But
> the list is correct that modern buckram is too stiff to be a good 
> substitute.
> Hair canvas in the U.S. is available both as a fusible and a sew-in 
> product.
> I personally use hair canvas for early 19th century tailoring, but 
> have not
> yet tried any 18th c. coats.
> Ann Wass
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re. designing commercial patterns
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On Mon, 13 Oct 2003, Martha Kelly wrote:

> We think they were too difficult (and took too much fabric) for
> “costumes” and were not authentic enough for reenactment.  Do you have
> any other insight as to why they failed?

What you said makes a lot of sense -- it's likely that the non-reenactor
audience didn't want something that elaborate, and the reenactor audience
wanted something more authentic.

I never worked with the patterns myself, but I know that there are several
lists and sites that discuss and review historical patterns. And people
who are considering buying them will often base their decision on a review
like that -- so if the reviewer had a problem, the pattern won't sell as
well. Perhaps a look over what the reviewers said will give you some clues
on what to include and what to avoid next time. I know that the Greater
Bay Area Costumer's Guild has a historic pattern review site; I'm sure
someone here has the URL, or it might show up on a search. And you might
want to check the archives of this list, or of the two SCA-Garb lists, or
a list such as ageofthecotehardie for the medieval patterns. In the
various archives, search on "Simplicity" and "pattern" and you'll probably
find what you want.

I would guess that your potential buyers in the SCA/re-enactment/renfaire
crowd would be absolutely delighted to know that you're interested in what
worked and what didn't. Even if you aren't aiming to make reenactment
patterns, there are a lot of people who need a pattern to make their
"first garb" or something outside their period of expertise. So people do
discuss these patterns seriously, and they're frustrated when there are
problems that would have been fixable If Only Someone Had Asked. If there
are practical issues with the way the patterns worked, then you might be
able to get some good insight from those discussions.

One SCA-Garb list is here:
http://list.uvm.edu/archives/sca-garb.html

And the other is here:
http://groups.yahoo.com/group/SCA-Garb/
(You'll probably have to join to read the archives, but that's easy.)

AgeOfTheCotehardie used to be here, and many of the archives are here:
http://groups.yahoo.com/group/ageofthecotehardie/

and then it moved here for further discussion after there were technical
problems with the first group:
http://groups.yahoo.com/group/aotc/

Again, you'll probably have to join those to read them.

--Robin





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Date: Mon, 13 Oct 2003 10:34:56 -0700
Subject: Re: [h-cost] Re. willowy models
From: Lynn Downward <LDownward@chori.org>
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Martha,
Since so many of us are not the norm in the reenactors world, it would
really be helpful if they could have one photo on a willowy model and one on
a 'sturdier' model (so both size 10s and 20s can see how the outfits will
look on). I bought your lovely Simplicity medieval patterns but didn't make
them because I had the same fear as has already been mentioned; what would
it look like on my 5'2" size 20 frame? Would it accentuate or hide my belly?
I now understand how difficult it is for you to have a model of our size,
and I also realize that photo shoots tweak the way the dress will actually
fit, even on a basic size 10, but it would sure be helpful to the majority
of us...

If it is as flattering as you say, I may make it for Halloween after all.

Now, another question. I wonder if we can still request a discontinued
pattern from Simplicity, as a couple of the ones I didn't purchase have gone
away.  Do we contact Simplicity?

LynnD

On 10/13/03 10:13 AM, "Martha Kelly" <marthakelly@nyc.rr.com> wrote:

> May I seek your insight?
> 
> A couple of you mentioned that the very slender model might be off-putting.
> This is something we discuss all the time in the costume/craft department.
> We get mail asking for larger sizes and designs suitable for larger women.
> When we make them, they don’t sell well enough to stay in the book.
> 
> The only not-size-ten I ever made was a Civil War dress worn by a size 20
> lady – a BEAUTIFUL size 20 lady! I thought that reenactors, with their
> interest in reality, would like to see a dress on a full figure and
> Simplicity agreed to give it a try. I had to totally re-think everything,
> even build as new dress form just for this outfit.  It was a lot of work. I
> thought the model looked great – especially in the corset.  And the pattern
> didn’t do well until we remade the dress in silk for a size ten.
> 
> There’s a reason models are slim. People must want to see the dresses that
> way. It’s an on-going discussion.
> 
> Any thoughts?
> 
> 
> _______________________________________________
> 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] toile tailleur
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Mon, 13 Oct 2003 08:48:40 -0700, Margo Anderson <margo@margospatterns.com> 
wrote:

>At 04:40 PM 10/13/2003 +0200, Bjarne og Leif Drews wrote:
>
> >It is incredible, i looked up the swedish word for it on google, and i found
> >it. It says it was wowen of worsted with some horsehair.
> >The hoursehair should stick to the fabric.
> >Is this the same as you call buckram.
> >
>No, this is "hair canvas".

I've also heard it referred to as "horsehair" (but not the "horsehair" 
edging that looks like they wove nylon fishing line into a flat braid!), 
"horsehair interfacing", and "hair cloth". It produces a stiff line with 
less weight and thickness, and more flexibility, than buckram. In 
modern-day tailoring, it's responsible for nice, sharp creases and for 
properly-rolled lapels.

I wouldn't consider making a modern-day lapel-collared or shawl-collared 
jacket without it.



Brenda
webwarren@earthlink.net


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In a message dated 10/13/2003 1:20:51 PM Eastern Standard Time, 
alice@wonderland.com writes:
do you use it for the entire coat?  I was taught in my Tailoring 
classes (for modern pieces)
to use it to support the shoulders and collar, but not the entire 
garment.  Just curious what you
do for 19th century!
No, I don't use it for the entire coat.  I do what I call traditional modern 
tailoring.  I interface the collar (and use wool felt for the undercollar, if 
I can find it), lapel, and down the front at button and buttonhole area.  I 
also build the chest piece as you do for a modern man's suit and do the partial 
interfacing in the upper back area.  And because early 19th century coat 
sleeves appear puffy, instead of smoothly eased, I put a sleeve head of polyester 
fleece (purists used woven lambswool, but I haven't seen it for sale in years), 
similar to how I was taught for women's suit sleeves.  I have also tried 
(horrors to those of you who insist on authenticity) strips of a fusible woven, 
not hair canvas, along the edges of the back vent and inside the lower hem for 
stability there.  

Unfortunately, I know of no good guides or patterns with good instructions 
for this period.  And it is only slowly that I have seen a handful of surviving 
examples.  So I have worked out my method by trial and error--some things work 
better than others, of course.  I'll be embarking on my 4th tailored coat 
this fall.  Fortunately, on this list I learned of a source for wool felt, and 
someone has offered me a stash of lambswool.

Ann Wass
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Subject: Re: [h-cost] re. designing commercial patterns
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In a message dated 10/13/2003 1:23:51 PM Eastern Standard Time, 
robin@shell.nightowl.net writes:
there are a lot of people who need a pattern to make their
"first garb" or something outside their period of expertise. 
I agree 100% that there is a real need for patterns.  Many people that I know 
sew a little, but are not nearly skilled enough to make their own patterns, 
or even work from enlarged scale diagrams.  But they want outfits, and there 
just aren't enough people around to make them.

And unfortunately, sometimes the patterns produced by the small companies (as 
opposed to the "Big Three") have problems with grading to size, or the 
directions leave quite a bit to be desired.  Now, I grant that almost anyone will 
have to do some kind of alteration to any commercial pattern, but if the sewer 
has experience with major commercial patterns, he or she can generally know 
what alterations will be necessary and can then proceed pretty smoothly.

Ann Wass
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Subject: Re: [h-cost] Re. willowy models
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Martha Kelly wrote:

> May I seek your insight?
> 
> A couple of you mentioned that the very slender model might be off-putting.
> This is something we discuss all the time in the costume/craft department.
> We get mail asking for larger sizes and designs suitable for larger women.
> When we make them, they don’t sell well enough to stay in the book.

I spent all day Sunday helping a girlfriend who wears a "22" get an 
outfit drafted and fitted.  She is frustrated when trying to make 
clothing from patterns, because her 'size' doesn't fit. Consequently she 
shies away from buying lots of patterns because she is afraid of wasting 
time and money on a garment, even though she likes the design. She wants 
clothes that fit her, so she is trying to make her own and have that 
control over the fit, but when the patterns don't work she gets 
discouraged and gives up. We go to the fabric store and look at 
catalogues and she says "I like this blouse, but the last one of theirs 
I tried didn't fit in the bust and I never could get the sleeve right." 
So she doesn't buy.

Speaking from my own experience as a size 10, I expect the commercial 
patterns to be too large for me. I nearly always have to take them in. 
The Victorian dress I am making now says on the envelope that I am a 
"14", but I knew it would be huge so I cut the size "10" instead. The 
slender model doesn't bother me. Seeing that the costume hangs like a 
sack on the model when it is supposed to be a fitted princess bodice is 
what bothers me, because I know at that point that the pattern is going 
to need serious alteration. Sometimes I feel that if I have to do that 
much alteration I might as well just draft my own in the first place. 
Fitting has to be done on almost everyone, but I think for us smaller 
sizes sometimes it's easier knowing all I have to do is take the seams 
in 1/4 " all the way around, rather than discovering the pattern is too 
small and I have to buy fabric all over again.



Dawn



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Subject: [h-cost] feedback on commercial pattern, was models.-Longish
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I buy every pattern that comes out in the historical
series. Some I've never used, but I have them. I
honestly couldn't tell you if the models were over
size 10 unless it was very very obvious. I buy in the
14-20 size ranges so I'm definitely your target market
for over size 10. I have patterns that I recommend to
people and some I recommend not to buy. Simplicity's
Historical series has been among the recommends and I
do remember seeing the name Martha. To tell you the
truth I've never used just one pattern to make a
dress. I use pieces of several patterns to create the
look I'm going for. Usually I'm copying a painting.
Since until recently, I hosted a Clothier's Guild,
sometimes we were trying for a 'look' for someone and
one individual pattern didn't do it for them. Does
that add to your perplexities?

I don't know any demographics but I think pre-18th
century is a larger market right now with the
renfair/SCA types. If we have a good WBTS movie come
out, then 1864 era clothing will probably become a
more popular pattern. I've been tempted in that
direction occasionally because we have friends
involved with a 19th century historical park that we
help out occasionally. So far it hasn't been
frequently enough for me to warrant investing in a
couple of outfits. I do hope this helps.




 --- Martha Kelly <marthakelly@nyc.rr.com> wrote: >
May I seek your insight?
> 
> A couple of you mentioned that the very slender
> model might be off-putting.
> This is something we discuss all the time in the
> costume/craft department.
> We get mail asking for larger sizes and designs
> suitable for larger women.
> When we make them, they don’t sell well enough to
> stay in the book.


=====
Aurum peccamenes multifariam texit

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Greetings all...

It's only recently that I've started to make historical clothing for 
others.  Until now I've only made historical clothing for myself.  And in 
making for myself I always drafted my own patterns.  With this new branch 
devleoping,  I've tried a couple of patterns - and tried to help one lady 
rescue her project that went badly awry.  Having dealt with different 
pattern companies sizing methods,  pattern variations and the like,  I've 
come to be firmly in the 'draft my own' category.   Over the past months 
I've discovered it is definately worth my time to draft the pattern for 
each body... rather than try to sort out someone elses.

Just my preference.
Bridgette / Mari

Mari Stewart
Cornell University


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Subject: Re: [h-cost] re. designing commercial patterns
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 I was sorry to see them go. I did recommend this one
sideless surcoat pattern to many people because it was
a good profile and fitted well in the top. It was easy
enough to help people alter the length so that it
didn't take quite so much fabric. It is one of my
favorites for 14th century wear. A lot of people think
sideless surcoats mean easy to wear shapeless sacks
are aren't prepared for the amount of fabric it takes
to make the 'melted candle' look.




 Yes the medieval things were mine.  They
> were meant to be
> costumes, pure and simple.  They have been pulled
> because sales weren’t good
> enough to justify their catalogue space.  I was
> sorry to see them go because
> I thought they were pretty. I meant for them to look
> like manuscript
> illuminations – somewhere between truth and fantasy.
> The model wore them
> well, I thought.
> 
> We think they were too difficult (and took too much
> fabric) for “costumes”
> and were not authentic enough for reenactment.  Do
> you have any other
> insight as to why they failed?
> 
> Martha
> 
> 


=====
Aurum peccamenes multifariam texit

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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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 What I would like to see in a commercial pattern is
an easier version of the women's fitted dress with
tippets on the sleeves. Period Patterns is really too
difficult for me to recommend to people who never sewn before.

=====
Aurum peccamenes multifariam texit

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Subject: Re: [h-cost] re. designing commercial patterns
Date: Mon, 13 Oct 2003 15:04:14 -0400
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The amount of fabric never bothered me. I love that "conspicuous
consumption" of fabric look!
----- Original Message ----- 
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 13, 2003 2:41 PM
Subject: Re: [h-cost] re. designing commercial patterns


> I was sorry to see them go. I did recommend this one
> sideless surcoat pattern to many people because it was
> a good profile and fitted well in the top. It was easy
> enough to help people alter the length so that it
> didn't take quite so much fabric. It is one of my
> favorites for 14th century wear. A lot of people think
> sideless surcoats mean easy to wear shapeless sacks
> are aren't prepared for the amount of fabric it takes
> to make the 'melted candle' look.
>
>
>
>
>  Yes the medieval things were mine.  They
> > were meant to be
> > costumes, pure and simple.  They have been pulled
> > because sales weren't good
> > enough to justify their catalogue space.  I was
> > sorry to see them go because
> > I thought they were pretty. I meant for them to look
> > like manuscript
> > illuminations - somewhere between truth and fantasy.
> > The model wore them
> > well, I thought.
> >
> > We think they were too difficult (and took too much
> > fabric) for "costumes"
> > and were not authentic enough for reenactment.  Do
> > you have any other
> > insight as to why they failed?
> >
> > Martha
> >
> >
>
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
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>

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From h-costume-bounces@indra.com  Mon Oct 13 15:22:52 2003
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Subject: [h-cost] Wool Felt
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I hope list members can help me.  I seem to remember a little while ago that 
someone gave a source for wool felt.  My GOOGLE search today has just netted 
so-called wool felt that is only 20-35% wool, with the rest rayon.  I'm looking 
for yardage available by mail of 100% wool felt.

Thanks.

Ann Wass
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From h-costume-bounces@indra.com  Mon Oct 13 15:50:08 2003
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Subject: Re: [h-cost] Re. willowy models
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>May I seek your insight?

A couple of you mentioned that the very slender model might be off-putting.
This is something we discuss all the time in the costume/craft department.
We get mail asking for larger sizes and designs suitable for larger women.
>When we make them, they don't sell well enough to stay in the book.

I have some thoughts, if a lurker (And a Scadian lurker at that) can speak
up for a moment. My best friend is a clothing size 22. NONE of the patterns
fit her but occasionally Ill buy a special large pattern and size it up. We
are so used to patterns NOT coming in the larger sizes, honestly I dont look
for them.  I take it for granted they wont have it. I wish I HAD seen the
pattern you are talking about, I would have posted it on several elists and
bought atleast 2 copies.
On the willowy models thing, Im a size 8. But I wear a simplicity size
14-16. I know that alot of beginning seamstresses I have worked with get
frustrated early on by buying one pattern only to find otu they bought or
cut the wrong size. That takes some getting used to.

And as to what I would like to see, Id like to see a decent tudor, Id like
to see more mens things. I buy every mans pattern that comes out whether I
need it or not. I bought the "Henry the VIIIth" pattern but had such
horrible times fitting it (sizing was just plain odd) that I wouldnt have
recommended it to anyone. Id like to see some childrens things.

Personally Martha, I know your name, I know the quality of your things and
have bought several patterns due to your connection with them. I wish all of
the costume patterns were of such quality. I guess they just need to clone
you.

Just my 2 cents. Thanks for the great discussion thus far.

Muirgheal

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Subject: Re: [h-cost] Wool Felt
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That was me- here's the link:

http://www.weirdolls.com/fabrics/felt.html?source=overture
 
But it looks like the sale they were having the last time is over...
 
               -Helen/Aidan


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Date: Mon, 13 Oct 2003 13:03:29 -0700
Subject: Re: [h-cost] Wool Felt
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Ann,

Hats by Leko has wool by the yard but it is aimed at the millinery trade and
fairly expensive:
http://www.hatsupply.com/

National Nonwovens has 100% wool but you have to special order it in 20 yard
bolts.
www.nationalnonwovens.com/

Try:
http://www.achildsdream.com/handwork_supplies/felting_crafts/holland_wool_fe
lt.htm


Perhaps some interesting info from a company selling felted wool:
http://www.moondancecolor.com/felted-felt.htm


Good luck
LynnD

On 10/13/03 12:20 PM, "AnnBWass@aol.com" <AnnBWass@aol.com> wrote:

> I hope list members can help me.  I seem to remember a little while ago that
> someone gave a source for wool felt.  My GOOGLE search today has just netted
> so-called wool felt that is only 20-35% wool, with the rest rayon.  I'm
> looking 
> for yardage available by mail of 100% wool felt.
> 
> Thanks.
> 
> Ann Wass
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Subject: Re: [h-cost] Costume pattern wish list
From: "Chiara" <chiara@io.com>
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What I would like to see is a reprinting of all the accessories patterns
they have in the archives in a short series.

Gloves (you knew I would say this one *smile*)
Purses
belts
hats
slippers
aprons
beach acccessories
picnic accessories
Embroidery transfers

This covers generally all periods that the commercial pattern companies
have been in existance. What I propose they do is a walk through the
decades and show case them as from the archives so that we know they are
limited editions of precious items from our great grandmother's time.

I am one  of the many on this list that have original commercial patterns
from those eras and would not for any reason open up the sealed packaging
some of them are in for fear of losing them forever. I would love to be
able to see them reprinted by the companies themselves. Especially the
ones that started out in Europe before they ever started selling here
prior to the wars.

>  What I would like to see in a commercial pattern is
> an easier version of the women's fitted dress with
> tippets on the sleeves. Period Patterns is really too
> difficult for me to recommend to people who never sewn before.
>
> =====
> Aurum peccamenes multifariam texit
>
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From h-costume-bounces@indra.com  Mon Oct 13 16:39:03 2003
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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Costume pattern wish list
Date: Mon, 13 Oct 2003 16:31:36 -0400
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I think a Greenland gown and hood would be a nice thing, not too difficult
for the average sewer.  I just got a bunch of patterns from the National
Museum of Denmark in Copenhagen, that covers several of the gowns, and is
very nice.  But not readily available to the US consumer.  For the
reenactors, that is.  I don't think that many costumers would be interested.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Chiara
Sent: Monday, October 13, 2003 4:07 PM
To: h-costume@indra.com
Subject: Re: [h-cost] Costume pattern wish list


What I would like to see is a reprinting of all the accessories patterns
they have in the archives in a short series.

Gloves (you knew I would say this one *smile*)
Purses
belts
hats
slippers
aprons
beach acccessories
picnic accessories
Embroidery transfers

This covers generally all periods that the commercial pattern companies
have been in existance. What I propose they do is a walk through the
decades and show case them as from the archives so that we know they are
limited editions of precious items from our great grandmother's time.

I am one  of the many on this list that have original commercial patterns
from those eras and would not for any reason open up the sealed packaging
some of them are in for fear of losing them forever. I would love to be
able to see them reprinted by the companies themselves. Especially the
ones that started out in Europe before they ever started selling here
prior to the wars.

>  What I would like to see in a commercial pattern is
> an easier version of the women's fitted dress with
> tippets on the sleeves. Period Patterns is really too
> difficult for me to recommend to people who never sewn before.
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
> Want to chat instantly with your online friends?  Get the FREE Yahoo!
> Messenger http://mail.messenger.yahoo.co.uk
> _______________________________________________
> h-costume mailing list
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> http://mail.indra.com/mailman/listinfo/h-costume



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From h-costume-bounces@indra.com  Mon Oct 13 17:04:22 2003
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: [h-cost] Henry VIII-2 pt ITV(British TV)production
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A check of Amazon.com.uk showed the Granada TV presentation as DVD(2 disc
set) for the recent Henry VIII to be released shortly. For us on this side
of the pond, Brit DVDs cannot be played successfully on US & Canadian
players and visa-versa. For real Tudor enthusists wanting to pass on their
love of history of this era to their preteen and early teen offspring the
Brit "My Story" series(similar to the "Dear America" series in the U.S.)is
publishing  "Anne Boleyn and Me" in spring 2004.  Have not yet found an
author listing for the new Anne Boleyn biog Amazon.com.uk lists as
publishing in 2004.

Probably we must wait until or if PBS, A&E or History Channel pick it up.

Cindy Abel






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Date: Mon, 13 Oct 2003 17:03:03 -0400 (GMT-04:00)
From: Christine Krebs-Bonder <ckbonder@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re. willowy models
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I don't necessarily find the physical size of the models off-putting when looking for pattersn. But I do have problems with them always having long back waist measurements. As a very shortwaisted busty woman, I don't even bother buying many patterns because they look like they won't work for me without tons of alterations (if alterations can help at all).

I do like the Italian Renn patterns since they can be easily adjusted for a short backwaist (or don't need to be adjusted at all) though I do raise the necklines a bit since I am not playing a courtesan.

My latest project is putting together a corset and other underpinnings for a Civil War re-enactment group I'm working with. I am very happy to see that Simplicity is selling more than one corset pattern now, and that the one I just bought yesterday can be adjusted for different bust sizes. 

Christine in Dayton >^..^<



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I remember when the pick and white plaid dress was first shown (that is
the one we are talking about. isn't it?) and there were several very
favorable comments regarding how it was nice to see a larger lady wearing
a costume dress and that she looked even better in it than the thinner
model shown with her. I heartily agree! 

I have bought several copies of each of your patterns (and did I mention
I'm thrilled to meet you, even if it's only electronically!) and have my
own back stock. Every time I see that there's a new Martha McCain I run
around to all my local JoAnn's and buy them up. I'm doing my best to keep
your patterns in print.


Karen




On Mon, 13 Oct 2003 13:13:58 -0400 "Martha Kelly"
<marthakelly@nyc.rr.com> writes:

> The only not-size-ten I ever made was a Civil War dress worn by a 
> size 20
> lady – a BEAUTIFUL size 20 lady! I thought that reenactors, with 
> their
> interest in reality, would like to see a dress on a full figure and
> Simplicity agreed to give it a try. I had to totally re-think 
> everything,
> even build as new dress form just for this outfit.  It was a lot of 
> work. I
> thought the model looked great – especially in the corset.  And the 
> pattern
> didn’t do well until we remade the dress in silk for a size ten.

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Date: Mon, 13 Oct 2003 14:18:21 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re. willowy models
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At 01:13 PM 10/13/2003 -0400, you wrote:
>May I seek your insight?

You asked for it!!  ;-)


>A couple of you mentioned that the very slender model might be off-putting.
>This is something we discuss all the time in the costume/craft department.
>We get mail asking for larger sizes and designs suitable for larger women.
>When we make them, they don’t sell well enough to stay in the book.

As a larger, currently size 20 in RTW person, it has taken me some time, 
even years, to understand how I might look in comparison to the willowy 
models. Clothing just doesn't fit the same on me as it does on a size 10-12 
(or smaller) person. The biggest complaint I have is that when patterns are 
sized up, they are sized up all over, and that is not what happens when you 
get bigger. I know we are different in shape too. I am a pear shape now, 
but when I was thinner (and younger) I was hourglass shaped. What I have 
done the past few years is buy a size 14-16 pattern, depending on company, 
and resize the sides for my larger breasts, waist and hips. At least this 
way, the pattern will fit better in my upper body/shoulder/neck area. But 
most people I know who sew from patterns don't even know how to adjust a 
pattern to fit them better. I know I didn't until I got into making 
costumes, that had to fit me tighter than modern clothes.

>The only not-size-ten I ever made was a Civil War dress worn by a size 20
>lady ­ a BEAUTIFUL size 20 lady! I thought that reenactors, with their
>interest in reality, would like to see a dress on a full figure and
>Simplicity agreed to give it a try. I had to totally re-think everything,
>even build as new dress form just for this outfit.  It was a lot of work. I
>thought the model looked great ­ especially in the corset.  And the pattern
>didn’t do well until we remade the dress in silk for a size ten.

I am sorry I didn't see that pattern. I would have loved to see a larger 
woman modeling your garments. Personally, I decided to take the plunge on 
1870s styles of clothing, because I saw them modeled by the Truely 
Victorian ladies, who are plus sized women and they look wonderful in these 
clothes! I still have reservations on the Civil War era styles, because of 
the old myths that only skinny women should wear such huge hoops. It wasn't 
until I understood the reasons why the large hoops (to make whatever waist 
look smaller in comparison), and that they need to be proportioned to my 
larger size in order to look right. So I bought the Martha McCain line of 
patterns, but with the belief that I may have to resize them 
proportionately to fit me properly.

>There’s a reason models are slim. People must want to see the dresses that
>way. It’s an on-going discussion.
>
>Any thoughts?

The reason I think (and it is my opinion and not to cause a stir) that 
people want to see the dresses on slimmer women, is because that is what we 
are used to seeing from all the media we see daily. I am an overweight 
woman, who makes my own patterns and costumes to fit me properly, but do I 
want to see something I wear modeled on an overweight woman? Truthfully, no 
I don't. Why? Because my eyes/brain just don't want to look at an 
overweight woman because it reminds me that I am overweight myself. Is that 
dumb? Yes!! But it is the truth. We are mentally trained to look at waif 
thin models, and to look at people other than that becomes painful. And 
while I don't like that perspective, I have to acknowledge that it exists 
in me. Until we change how media portrays women on a daily basis, where we 
become comfortable with how we look ourselves, many of us, myself included, 
will want to buy into the fantasy of "thin is in." Personally, I am trying 
to adjust that to "Healthy is In", meaning whatever weight is healthy for 
us to be. But that is my personal battle and may not apply to anyone else.

And may I ask if you have an exclusive contract with Simplicity? The reason 
I ask is have you thought of designing and marketing your own historical 
costumes, where you have full rights to do as you please, much as Margo and 
Kass have done? I know it is hard work, but you would have full control of 
what you do, what you keep and all. You might then be able to license your 
pattern line to Simplicity as well. Personally, I think you have a good 
following, as people know your line and now we know you. Just a thought.

And thanks for making re-enactors costumes. I got tired of only finding the 
fantasy types that skimps on the fabric used.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com


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From h-costume-bounces@indra.com  Mon Oct 13 17:19:42 2003
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Status: RO

I knew this one was going to be a little grating to watch, especially with 
some of the language abuse -- "If you're not going to play ball with us 
(Romans)..." -- YIKES!

I suppose the good that came from this is that I'm rummaging the bookshelf 
this evening to find and reread the relevant chapters of A. Fraser's The Warrior 
Queens to help settle my stomach.  Could anyone on the list please recommend 
further  reading?

Thanks!
Linda Bolla
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Date: Mon, 13 Oct 2003 13:39:07 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re. designing commercial patterns
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At 09:15 AM 10/13/2003 -0400, you wrote:
>Yes, I design historic patterns for Simplicity.  My line is Martha McCain,
>Fashion Historian.  So far, it's all been mid-19th century women.  I'm
>working on men's things now.


Oh, wow. Well, I have supported you rather well then. I have bought almost 
all the patterns of that line. :-) I very much like them. And I have heard 
great reviews of them from Linda at Farthingales, when she talked about 
steels at Costume College.

I just can't wait till next summer when I get to wear them, as I will be 
making them up next spring (winter for Ren clothes). I can't wait to see 
the men's line. My dh very much wants something Victorian for him to wear. 
Not to mention our guild will also be doing Victorian events, and the 
ladies are looking to see what sort of patterns are out there to use. :-)

Ok, I am sounding like a fan-goob. But I like what I have seen so far, and 
can't wait to get started in them.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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On Mon, 13 Oct 2003 13:13:58 -0400 "Martha Kelly"
<marthakelly@nyc.rr.com> writes:
> May I seek your insight?
> 
> A couple of you mentioned that the very slender model might be
off-putting.
> This is something we discuss all the time in the costume/craft
department.
> We get mail asking for larger sizes and designs suitable for larger
women.
> When we make them, they don’t sell well enough to stay in the book.
> 

        One thing that would probably help, and I don't know if it's
being done yet or not, but the industry itself needs to come up with a
universal sizing system.  Basically, Simplicity, Butterick, Vogue,
McCalls ALL use the same system (I know some of those pattern companies
aren't available around here), because I've had times, for regular daily
wear items, that I've liked something from one pattern, and wanted to put
it with something else, but the sizing was wrong.  I was better off
taking the existing pattern piece and making it work the way I wanted to,
by remaking it, and going from there.  Talk about a headache! <grin>

> The only not-size-ten I ever made was a Civil War dress worn by a size
20
> lady – a BEAUTIFUL size 20 lady! I thought that reenactors, with their
> interest in reality, would like to see a dress on a full figure and
> Simplicity agreed to give it a try. I had to totally re-think
everything,
> even build as new dress form just for this outfit.  It was a lot of
work. I
> thought the model looked great – especially in the corset.  And the
pattern
> didn’t do well until we remade the dress in silk for a size ten.
> 
> There’s a reason models are slim. People must want to see the 
> dresses that way. It’s an on-going discussion.
> 
> Any thoughts?


        I was looking for the exact reply from someone, but for some
reason, couldn't find it in my mail (I have a headache, so I'm not
searching hard <smile>).  I've been deterred by the fact that the models
almost always seem to be Callista Flockhart thin.  This isn't just for
the costumes, but also for the regular wear.  It would, as with
everything, mean more work, but having the models wearing different
materials, and the models being different sizes, would help customers who
aren't good at visualizing what something would look like on them.  I'm
5'10" and wear a size 20.  
        I drafted the pattern for a friend's wedding gown, and five weeks
before the wedding, when we were doing some wedding shopping, she saw a
costume pattern (everyone was starting to gear up for Halloween), and
wondered if the way that dress looked would suit her better.  She's lucky
if she's 5' even, and she's quite on the plus size.  She relied on my
visualization abilities (for some reason, they are very acute for me),
and trusted what I told her.  She was most ravishing in her gown.  That
gown is shown on the page for my costumes.
        By using models from both ends of the spectrum, as well as the
more opulent fabrics and the more "mundane" (ie: cottons, and lower
priced items), customers can get an idea of what the gowns/clothes would
look like on someone more like them, and within various economic
standards.
        I really hope that this email has made sense.  I keep going back
over it and sometimes it does, sometimes it doesn't.  If anything here is
unclear, please let me know and I'll try to better explain it.

Astrid
Never argue with a dragon, for thou art crunchy and go well with Brie.
    http://www.geocities.com/tul_juriss - for links to ALL my current
sites
    http://www.geocities.com/astridofthehorde - costumes I've made
    http://www.geocities.com/house_qul_mupwi - The noble Klingon House
    http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
Guild
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: "h-costume" <h-costume@net.indra.com>
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Subject: [h-cost] re. pattern wish list
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Status: RO

If you want to catch the ear of the two ladies who choose which patterns are
developed at Simplicity, come to the live chat this Thursday at 1:00 PM
Eastern time. Abbie and Betsy will both be there. Just go to the Simplicity
web site.  I could (and will) pass along your suggestions, but it will be
more effective if you talk to them directly.  Express your size concerns,
fitting problems, and what sort of patterns you’d like to see in the future.
They really will be interested. Andrea Schewe is the guest speaker and she
does most of the Ren Faire costumes.

I was the guest for a couple of sessions, but not many people showed up.  It
’s a bad time of day, isn’t it?

Thank you everybody who wrote in such helpful suggestions today.  Sometimes
I feel like I’m working in a vacuum, so this was great. I have another
question or two to pose, but I think I’ve had my time in the sun for now.

Martha


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So how did you obtain the patterns?  Who did you contact at the museum, 
and what was the procedure?  Is this a book or a pattern, and what is it 
called?

Thanks for any info,

Fran

Megan M. wrote:

>I think a Greenland gown and hood would be a nice thing, not too difficult
>for the average sewer.  I just got a bunch of patterns from the National
>Museum of Denmark in Copenhagen, that covers several of the gowns, and is
>very nice.  But not readily available to the US consumer.  For the
>reenactors, that is.  I don't think that many costumers would be interested.
>-Megan
>
>  
>

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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 Yeah, I was waiting for a look of incomprehension from the Brits.  "Play
ball? Is this a reference to some kind of weird Roman game?"  And then the
Brits to decapitate one of those Romans and say: "This is the only kind of
ball we play with!"

Too bad Alistar Cooke isn't still around to make some pithy comment(even if
it had to wait to be in print)about the playing fast and loose with the
known historical accuracy.

Although the History Channel runs a film now and then runs a film and
experts on the era comment now and then during breaks on the accuracies and
fallicies of each film. Unfortunately, they aren't allowed to get too
critical of a film--I'm waiting for a kind of VH-1 "pop-up video" version
for historic films--lots of fun facts and comments in little pop-ups as the
film runs!

Can see it now--example Norma Shearer as "Marie Antoinette"  :

Note: Shearer's up-to-the minute makeup, fashionable '30's shoulder-line,
30's fabrics and Ziegfield Follies version of 1770's court-dress done in
little pop-ups.  Historical inaccuracies--the costume alone!  "Makeup by Max
Factor"  "Bias cut lame"  "Pure white wig"

Cindy Abel

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Costume pattern wish list
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Megan M. wrote:

> >I think a Greenland gown and hood would be a nice thing, not too difficult
> >for the average sewer.  I just got a bunch of patterns from the National
> >Museum of Denmark in Copenhagen, that covers several of the gowns, and is
> >very nice.  But not readily available to the US consumer.

Fran Grimble wrote:

> So how did you obtain the patterns?  Who did you contact at the
> museum, and what was the procedure?  Is this a book or a pattern, and
> what is it called?

I'm not Megan, but I inquired about these patterns a while ago. (Haven't
bought them ... yet.) Here's what Jonna Hørning at the Denmark National
Museum shop emailed to me in March 2001:

-----
From: jonna.horning@natmus.dk
Subject: SV: Garment patterns

Sorry for answering so late. We have patterns
Patterns for Norse Dress amd Hood
Women, 78,40 DKK
Men 1, 78,40 DKK
Men 2, 78,40 DKK
Socks, 54,40 DKK

The patterns is recreated by using modern computer technology at
Scandinavia's largest textile and clothing college.
-----

I had actually asked several questions that she did not answer:  which
Greenland garments are the patterns based on, are the patterns modernized
versions or exact replicas, and what sizes do they come in. She probably
did not know, as all she just told me the names and prices. Megan, if you
can provide any of that information based on the patterns themselves, I'd
be most interested to hear.

Me, I just went with the drawings and measurements Poul Norlund supplied
in his 1924 writeup of the Herjolfsnes dig. The garments were sized to fit
short malnourished Greenlanders, but once I worked out the cutting theory,
I can use it on anyone. But that's not a pattern by any means.

For people who want patterns, Jean Hunnisett adapted Norlund's diagram for
Gown 38 to a graphed pattern in her 1996 book on medieval costume for the
stage. This is one of the so-called "10-gore gowns" that everyone thinks
of when they think of "Greenland gowns." I have no idea how well
Hunnisett's pattern works in practice, though it's definitely a modern
pattern for use with modern methods.

--Robin



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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] "Henry VIII" on TV tonight
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Me too - I stuck it on and dipped in and out between chores.  What I saw 
stretched across the whole relationship with Anne Boleyn, up to and 
after the birth of Elizabeth.  I never saw Helena wear any headdress at 
all, and it featured the worst, most amateur Tudor dress I've ever seen 
- it appeared to be a bodice and skirt, joined, of silver brocade, with 
brown cloth sleeves, really dull and uninteresting beigy-brown 
non-descript cloth, and - get this - an "overskirt" of the same brown 
stuff just sewn into the waist seam.  Like one of those fake waistcoats 
that are attached into the side seams and shoulder seams of a shirt.  No 
attempt at two garments at all.  I've seen better in the local panto!

And I wasn't exactly convinced by her standing in the doorway of the 
external wall of a manor house, at night, reading an A3 love letter from 
Henry and simpering to the guard who brought it "No reply."

Aaaargh!

Jean



Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote
>Yes, I saw it. I'd been intending to start a thread on this if no-one
>else did.
>
>I'd heard a critic say in a preliminary review on the radio that the
>King's London accent was rather obvious, so I was prepared for that.
>I'm not an expert on Tudor costume, but I thought Helena B-C  looked
>ridiculous with all that hair flopping about - even when she wore a
>headdress, there was too much hair showing round her face. It was even
>worse than the headwear in "The other Boleyn girl" which we criticised a
>few months ago. As someone said, it's as though a leading lady can't be
>allowed to have all her hair hidden.
>
>Kate Bunting
>Library, University of Derby
>
>>>> lynneconnolly@ntlworld.com 10/12/03 09:59pm >>>
>Ok, so I watched the first episode of the new ITV drama, "Henry VIII."
>It took me about 20 minutes to work it out.
>Ernie Wise wrote this, didn't he?
>(snip)
>Anyone else see this?
>
>
>
>Lynne Connolly, GSOLFOT
>Award winning Historical Romance author.
>http://homepage.ntlworld.com/lynneconnolly/
>The Richard and Rose books from
><http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/>
>Inc.
>YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from
><http://www.awe-struck.net/>Awe-Struck
>
>
>
>________________________________________________________________________
>This email has been scanned for all viruses by the MessageLabs Email
>Security System. For more information on a proactive email security
>service working around the clock, around the globe, visit
>http://www.messagelabs.com
>________________________________________________________________________
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-- 
Jean Waddie
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Hi,
	I think I've bought quite a few of your patterns, although 
it's not my period either. They are lovely, and I want to 
support having them! But... my two peeves are that the 
sizing stops at size 22. It's annoying to have to size up to 
a 28 (well it's annoying being overweight, but that doesn't 
help). Many other patterns go up to 24 at least, can't these 
increase too? I don't care too much if the model is wraith 
thin, but a "normal" size/shape might be nice - doesn't need 
to be plus size (except in the plus patterns).
	Also, I deal with helping alot of sewers learn to adapt 
patterns for fantasy outfits. One of the complaints I've 
seen is that they can't raise their arms very well. Seems to 
be common with a lot of patterns that they are being 
designed for having your arms straight down, and not 
allowing a lot of movement. Movement is a nice natural 
thing. It would be nice if the pattern didn't pull funky 
when you did it.

	-Judy Mitchell

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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <LLEALCLGCCEBKHIGEMPOAEBOCIAA.marthakelly@nyc.rr.com>
Subject: Re: [h-cost] re. pattern wish list
Date: Mon, 13 Oct 2003 18:19:53 -0400
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Status: RO

Thanks for the info! I will try to be there. I read the transcript of the
two chats with you and wished I was there!
----- Original Message ----- 
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: "h-costume" <h-costume@net.indra.com>
Sent: Monday, October 13, 2003 5:47 PM
Subject: [h-cost] re. pattern wish list


> If you want to catch the ear of the two ladies who choose which patterns
are
> developed at Simplicity, come to the live chat this Thursday at 1:00 PM
> Eastern time. Abbie and Betsy will both be there. Just go to the
Simplicity
> web site.  I could (and will) pass along your suggestions, but it will be
> more effective if you talk to them directly.  Express your size concerns,
> fitting problems, and what sort of patterns you'd like to see in the
future.
> They really will be interested. Andrea Schewe is the guest speaker and she
> does most of the Ren Faire costumes.
>
> I was the guest for a couple of sessions, but not many people showed up.
It
> 's a bad time of day, isn't it?
>
> Thank you everybody who wrote in such helpful suggestions today.
Sometimes
> I feel like I'm working in a vacuum, so this was great. I have another
> question or two to pose, but I think I've had my time in the sun for now.
>
> Martha
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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From: "Diane Maynard" <Camelothorse@earthlink.net>
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Status: RO

I am sorry that Simplicity dropped the medieval gown.   I thought the gown was easy to make.   It did take quite a lot of material to make but, when made, looked fabulous on.  I actually made this gown for a friend of mine and tried it on to check the fit (she and I wear the same size).  My boyfriend at the time saw the gown and tried to get me to keep it instead of giving to my friend.   He just flipped over how it looked on.  It seemed like such a simple dress but boy did it do wonders for my figure.  Accentuate the bust, slimmed the waist and hid the hips.   I loved it.   I still have one more of this pattern (I always buy two) and someday will make it for myself.   I would have already done so except I normally play in the SCA as an Elizabethan lady.   Only 200 years difference in fashion.

I also have ALL of the Victorian patterns.   Have not had a chance to make them yet but, I just had to have them.    Hopefully I will get one made in time for "Dickens on the Strand".   I also would like to see more men's patterns.   I also made up the Henry Vlll pattern for my adopted brother.   The pattern worked well and needed few alterations for a man that was actually built like Henry Vlll  and my brother was built like that.  He got loads of compliments on it.  

Diane
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Mon, 13 Oct 2003 15:34:52 -0700
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> I can't count how many times I've heard people worry that something on
> their website may be illegal (they're not sure) and that therefore
> someone may sue them or otherwise make their lives unpleasant.  I also
> can't count how many times I've heard people broach the question to a
> mailing list as if the list members had the power to give permission,
> which they don't. This has never made sense to me, because there is no
> real reason to be in this uneasy position. Most professional authors
> and publishers take the steps I mentioned to avoid it.  It's silly to
> beat around the bush forever doing guesswork, when you can just send
> an email to a lawyer or to the copyright owner and get the issue
> resolved.

I suspect that what is really happening is not trying to get 
permission so much as trying to get free legal advice because they 
either can't afford to find a real copyright lawyer or because they 
don't know how to find a real copyright lawyer and figure that people 
on the list have had enough experience that it will substitute.

Kat
<kat@redtrollforge.com>


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Date: Mon, 13 Oct 2003 15:34:50 -0700
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> Thank you Bjarne for your comments. If you ever remember which books
> have good Clouet paintings, I would appreciate if you would post them.
> I am on the lookout for one.

I'm not Bjarne but one of my favorite Clouet books is:
_Jean & Francois Clouet" by Etienne Jollet (which is actually recent 
enough to have an ISBN: 2-909752-04-6).

It has *many* color pics as well as black&white, with a lot of 
historical background stuff. The biggest drawback (to me, who doesn't 
know the language) is that it's entirely in French.

There is another book which is full of the drawings of Clouet which I 
found about 18 years ago at the University of Washington Library. (I 
can't find the name of it, but if you do an ILL search for Clouet in 
the UoW library system, you can probably find it.) I hope to find it 
again someday for sale in a used book store, but so far I've not had 
the luck. (And of course, the copies I was able to get back then are 
*very* poor quality and don't show diddly squat. Sigh. Thank goodness 
that technology has improved.)

Kat
<kat@redtrollforge.com>


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> Next morning, Miss
> Penelope Chalk steps out her front door and finds my trunk on her
> lawn.  She reports it to the police, runs an ad in the newspaper but
> no one claims it after 45 days and it's now her's to do as she
> pleases.  She's not party to any licensing agreement and the material
> is not under copyright.  She doesn't need to ask the owners of the
> original material for access to the books because she already has
> copies.  Property rights are of no value here because there is no need
> to access any one else's property. She could now set up her own book
> selling service, probably quite legally with little or no investment
> on her part much to the detriment of those who paid for the books,
> microfilmed them and set up the online service.  That is not a good
> situation for people currently running businesses using public domain
> material at all.

Somehow I suspect that if she *did* publish them etc., that it would 
be illegal but I would recommend checking with a copyright lawyer 
(not a general lawyer but a lawyer who specifically does copyright 
since the field is *constantly* changing and it's an area where 
little details are extremely significant. Unless it is just about all 
they do, copyright is a legal area where a general lawyer can get you 
into more trouble and ignorance of the law is not a defense.)

Kat
<kat@redtrollforge.com>


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> "There was a kind of patterned material, but it wasn't tartan as we
> know it. There are accounts of patterned or checked fabric..." 
>    It was this early sort of pattern that I am trying to find evidence
> of and sources for. Clan tartans were a much later invention, so I
> certainly had not intended to call mine a clan tartan. I am just
> trying to research what the patterns might have looked like and if
> some of the modern one's would be similar. Too bad there seem to be
> none in existence from the middle ages.

Basically, prior to the Sobieski brothers and the return of the 
"tartan", Scottish people used whatever the weavers came up with in 
their area. It was not set the way it has become. And if you are 
looking at 16th Century, they could do elaborate patterns if they 
chose, both in terms of color and thread design. Look through any 
book on the history of weaving (I like Agnes Geijner's book) and you 
can find out what was possible in terms of weaving ability.

The basic weaving of plaid is what you'd find in terms of pattern. As 
to the colors, find out what dye plants were available in the area 
where the weaver lived and the color they made. Don't bother to look 
at the modern tartan colors, even the ones listed as "ancient" (as 
these were not necessarily what would have been worn.) I've seen at 
least 2 books on the regional availability of specific dyestuffs in 
Scotland. (I just don't have the names available right now. I'm sure 
you could find them through a ILL or used book search.)

And use several patterns in the same colors in the same outfit. For 
example, make your trews (if you use them) of one pattern and your 
kilt of another.

There's a very charming painting from the time of the clearances of a 
Highland chief's family where there were as many "tartans" being worn 
by them as there were garments. The patterns themselves were not set 
except for what the local weaver may have preferred depending on how 
much of each color she had available at that time.

Kat
<kat@redtrollforge.com>


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> Anne of Cleves, by Mary Saalar (I think.) Nice list in there of what
> she got after the divorce/annullment mentions her wearing English
> costume soonish after arriving in England.

Cool! Do you have an ISBN on this one. (I've seen stuff about both 
she and Caterine of Aragon changing from their native clothes to 
those of England when they came to England, but I've never seen the 
actual list! Much more valuable to the things I like to do!)

> The Woman Beautiful, or Maidenhood, Mariage and Maternity. Published
> pre WWI on everything a woman "needs" to know. So there is information
> on how you should dress, flirt and find a marriage partner. Or indeed
> to not marry. There are amazing anotomical etchings in there and a
> flip thing of the organs of a woman. She's pregant of course as that's
> the natural state for a woman;) Also I know we've discussed
> menstruation on this list before in relation to costuming.. this book
> suggests the menses is nothing more than a little fluid and only if
> you are "diseased" then there is much blood and last for several days.
> 
> Hands up anyone who would like to live in that fantasy world....

Yep. Definitely. However, studies done on this subject have shown 
that women in the past generally far fewer periods than modern women 
and that they were much lighter and shorter than what is currently 
considered normal for modern women. Has something to do with 
nutrition, genetics, pregnancy numbers, and other health related 
factors that contribute to such things.

> So sewing is extremely painful, and actually detrimental to my wrists.
> I have no idea how much sewing I'm capable of doing, but recently I've
> been able to sew about a seam a day. With a day or two between.

Ouch! Not a good thing for any of us needleworkers (although it tends 
to end up being a problem for sooooo many of us.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Re: Costume pattern wish list
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"What I propose they do is a walk through the
decades and show case them as from the archives so that we know they are
limited editions of precious items from our great grandmother's time."

This is such a fantastic idea!!!  I would be all over that.  I'm sure many 
more would be too.  I wonder what we can do to get them to try this???  
Martha, can you pull some strings with the big-wigs?  :)

Also, I didn't realize that Martha was on this list.  That makes me, 
personally, more likely to purchase the patterns that I like instead of just 
coveting them.  I tend to look at the pattern book, like what I see, but not 
actually purchase unless I have a specific need in mind.  I would love to 
own some of these patterns just for fun.  Now I have a more personal reason 
to purchase them!

:)  jessica

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  costume books I've just boaght, and why costuming is
 taking a back seat now:(
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On Mon, 13 Oct 2003 kat@grendal.rain.com wrote:

> > Also I know we've discussed
> > menstruation on this list before in relation to costuming.. this book
> > suggests the menses is nothing more than a little fluid and only if
> > you are "diseased" then there is much blood and last for several days.
> > 
> > Hands up anyone who would like to live in that fantasy world....

> Yep. Definitely. However, studies done on this subject have shown that
> women in the past generally far fewer periods than modern women and
> that they were much lighter and shorter than what is currently
> considered normal for modern women. Has something to do with
> nutrition, genetics, pregnancy numbers, and other health related
> factors that contribute to such things.

And exercise levels, too, I'd think. I know that menstrual cramps are
statistically far rarer in women who excercise frequently, and I bet flow
is less too. And people of past periods were far more physically active
just in the course of daily life than the average modern American woman.

This is something to keep in mind when people say "Oh, they couldn't have
managed without underwear in [your choice of past period] because of
menstrual flow." When periods are lighter and less frequent, solutions can
be different -- far less padding or absorbent material might have done the
trick quite well, in either a tampon or belt arrangement, and have been
required for fewer days. And in some cultures, the solution is "Stay in
bed" (or in a special house/hut) for the duration.

--Robin


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> Thank you.  Yes the medieval things were mine.  They were meant to be
> costumes, pure and simple.  They have been pulled because sales
> weren’t good enough to justify their catalogue space.  I was sorry to
> see them go because I thought they were pretty. I meant for them to
> look like manuscript illuminations – somewhere between truth and
> fantasy. The model wore them well, I thought.
> 
> We think they were too difficult (and took too much fabric) for
> “costumes” and were not authentic enough for reenactment.  Do you have
> any other insight as to why they failed?

I generally buy any "historic costume" pattern I can get (in all the 
sizes). 

One of the things I was disappointed in with the sideless surcoat one 
is that the model on the front looked wonderful and the dress seemed 
to have the right lines, but when I actually pulled out the pattern 
to see how it had been drafted, there were those pesky Victorian bust 
darts. That made me *very* disappointed.

I think that you are probably right about them not hitting the market 
correctly (too high for some, too low for the historians). But 
another problem is pattern price. I really balk at buying a pattern 
for full price, especially since I'm getting so many of them. I 
usually wait for JoAnn's special "all patterns except Burda on sale 
for $1 sale. Even at half price they are a bit spendy (which many 
fabric stores have them "on sale" always) it's a bit much.

I've been disappointed many times that they don't try to keep them 
around very long. I understand it, but when I tell people: go get 
Simplicity pattern XXXX and do these modifications and it will work 
great, and then find out that the pattern is no longer available, 
it's a pain. About the time that people figure out that they are 
there, it's already too late and they are being phased out. (The 
Henry VIII pattern is like that. The tights pattern is one of the few 
which is cut more similarly to the way they would have been cut 
compared to almost any pattern I've ever seen. And now it's gone!)

Sometimes they don't keep them in stock well either. I can't tell you 
how often I've looked at the new book, found a new pattern which I 
thought looked like it would be good for people to use, gone to the 
bins and found that the only thing that they are already out of 
stock. (It took going to several stores to get all the pieces to the 
Civil War day dress that I wanted in all the sizes. And often I can't 
find *any* of the size I want even if I go to all the stores in 
town.)

So perhaps if they would have more than 1 of each size sent to the 
store they might sell a few more. That is a major marketing problem 
because it means that someone who *would* buy it can't and so they 
don't buy anything from the pattern book. People who want historical 
costume patterns don't want to "make do" with another time period or 
something from another part of the pattern book. They want what they 
came in for.

Kat
<kat@redtrollforge.com>



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> Several years ago, when Dover first started reprinting Norris' works,
> which had been out of print for a number of years, a number of costume
> people who had laboriously Xeroxed a  copy from a friend or the
> library bought a nice new professionally published version, since it
> was easier to use and not expensive.

Yes, and I still remember waiting for them to do it because the 
estate people were slowing down Dover's acquisition of the rights to 
it.

There were already people "reprinting" it but they were doing so 
illegally. I know that I haven't seen anything from that particular 
press for quite some time (which was a pity because some of their 
stuff I enjoyed.)

Of course, while waiting for Dover to get the rights to Norris so 
many better books with more correct information that I almost didn't 
buy it when it came out.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re. willowy models
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Martha Kelly wrote:
> We get mail asking for larger sizes and designs suitable for larger women.
> When we make them, they don’t sell well enough to stay in the book. 

I love hard data!  Thank you!

Hmm.  So it's not the model size after all.  Someone mentioned the 
price, which myself, I don't find offputting, but I could see how one 
might.  And if there are lots of people out there who wait to buy them 
until they are on sale for a buck or two, the pattern company and the 
fabric store selling them make no money at all from it, so it's hardly a 
wonder that they get discontinued.  Could you imagine if no one bought 
the Harry Potter book until it was remaindered for a dollar?  There 
wouldn't have been any other volumes.

The mention someone made about there being a big difference between "I 
want to make a costume to wear to the Ren Faire as a guest" and stuff 
that's medieval, was interesting.  I haven't yet heard of *any* Medieval 
Faires around the USA, just Ren Faires.  So I would expect the Ren 
patterns to have sold better.  Did they?

Maybe the patterns could list a time period and location on them.  I 
don't think that the sideless/cotehardie one did, but something like 
"this is a costume in the style of noble women in France in 1300 AD."

I'm so glad you spoke up, Martha.  It's great to have some real 
information about how this stuff works, and I hope you're enjoying the 
fan mail!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  Education and religion are two things not regulated by supply and
demand. The less of either the people have, the less they want.
-- Charlotte Observer, 1897
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From h-costume-bounces@indra.com  Mon Oct 13 20:05:18 2003
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From: "Glenda Robinson" <glendar@compassnet.com.au>
To: "Historical Costume" <h-costume@indra.com>
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	<00ae01c391a2$45dbd470$75f5da0c@DT2JBTC21>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Tue, 14 Oct 2003 10:04:52 +1000
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Hi Susan,

Don't get too excited about Pepys' London! It was a fairly odd collection of
things, though I don't recall anything from Pepys himself. I didn't find it
any more informative than other museum's exhibits on the 17th century.

My favourite example of drawing a long bow was
he had a bladder stone removed the size of a tennis ball.
     Here's a 19th century bladder stone
     Here's a 17th century tennis ball

Another was
he wrote in a 17th century shorthand script
     Here's a few pages in someone else's 17th century shorthand

Also, the MoL does not allow general photography (or sketches, but that
didn't stop Wayne taking a few notes that were a little sketchlike). They
had some interesting examples of early metropolitan slipware tucked away as
part of a life in Stuart London display that Wayne wants to make copies of.
They didn't even have the accession numbers or descriptions of them. We will
have to chase them up on email.

I am a bit grumpy that the V&A's exhibit didn't start a couple of weeks
earlier. It draws from a heap of interesting places around the country, many
of which I had been to, and they had items at the V&A for the exhibit
already. Oh well.. what does one do? It looks like it'll be a wonderful
exhibit.

The Museum of Costume at Nottingham closed on 1st October. They said that
they will open 'in 3 years, maybe. They haven't even started the building
where they want to house it yet'. They also said that it will probably be a
booking only museum, not one open to the general public.

Hope you have a wonderful time!

Glenda.

----- Original Message ----- 
From: "Susan" <susan@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 1:54 AM
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition


> De lurking to reply to this thread.. Now that is excitement for you.
>
> I'll be flying out Monday next to the UK for two weeks!  I am almost
besides
> myself at the exhibits that are now open while I'll be there. Not only the
> Gothic Art at the V& A but Pepys' London and 1920s: the decade that
changed
> London at the Museum of London. http://www.museumoflondon.org.uk/   The
> LOTR exhibition at the Science Museum
>
http://www.sciencemuseum.org.uk/exhibitions/lordoftherings/default_flash.asp
> And well just everything!
>
> Susan
>

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Hello Everyone,



I'm afraid I wasn't paying attention recently when some folks were
discussing the 'vegetable dye' fabrics at JoAnn. Did we actually decide
if they are appropriate for any time periods or are they all hopelessly
modern? The designs look fairly good for Indian design motifs, but I'm
not an expert. A quick summary/refresher would be appreciated!



Karen

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Subject: Re: [h-cost] Re. willowy models
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Martha Kelly wrote:

>May I seek your insight?
>
>A couple of you mentioned that the very slender model might be off-putting.
>This is something we discuss all the time in the costume/craft department.
>We get mail asking for larger sizes and designs suitable for larger women.
>When we make them, they don’t sell well enough to stay in the book.
>
>  
>
I am catching up on my mail today, and I'm sure I'll repeat some things 
others have said.
Anyhow!
I am a tall, large women, 5' 11" probably a 18 - 20 RTW. I sew for 
myself. The only things I buy ready made are jeans, underwear and t-shirts.
Not speaking directly to the Simplicity line of historical patterns 
(which I've never looked at), I am not happy w/ the patterns provided 
for sizes 20+.
The proportions are funny, and the detail elements (like sashes and the 
like) are still scaled for a size 8 or what ever. I always have to 
change the scale of the detail pieces or the dress looks odd. When I was 
skinny (a 12) the only adjustment I had to make was to lengthen 
everything 2 - 3 inches. At 18/20, I have to futz a lot more. I realize 
that everybody puts on weight differently, and maybe I'm not the norm, 
but for a blouse I use an 18 shoulder and bust, a 20 waist and often a 
22 arm if the sleeve is close fitting.
Hi. The giant perambulating pear, here. :)

Most of the photos I see for plus-size patterns are not flattering. Yes, 
the model is probably at least a size 12, but the clothes are ill 
fitting, and most seem to be modeled on a basic tent.
This may seem harsh, but if I wanted to make a shapeless sack to wear, I 
don't need a pattern.
Ok, that was harsh. Sorry. But it stands.

I also have trouble visualizing what a dress photographed on a size 8 or 
what have you will look like on me. I'm getting better about it, mostly 
by ignoring the drawing or photo on the front of the pattern and going 
right to the line drawings on the back. The styles designated as 
appropriate or saleable for large sizes are generally not flattering on me.
Lately, I've been revisiting my Folkwear patterns, many of which have 
been reissued in larger sizes.

So, after all that ranting, I would like to see well made, well fitted 
clothes photographed on large models. That would get me buying patterns! 
You betcha!
I wish I had seen the Simplicity historical you-all are talking about. I 
bet it looked good!

liz young



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From h-costume-bounces@indra.com  Mon Oct 13 21:10:19 2003
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From: sewinggoddess@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re. pattern wish list
Date: Tue, 14 Oct 2003 01:08:16 +0000
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OOh, wait one more for the pattern wish list!

I would dearly love to see a great Men's Cavalier outfit, one done in a simple style and another one with all the lace 
trimmings.  And a decent CAvalier overcoat too, please. I'm tired of redrafting the one style I have made to fit all the 
gentlemen who want it.

Thanks! 

  I just finished the Corset pattern with the bust gores for a friend and it fit her beautifully!   Did you realize that the 
instructions *never* say what to do with the waist stay once it's " pinned in place"?  And I've been sewing for 25 years now 
and I must say that this one took some time to figure out. Definitely not for the weekend sewer. But I enjoyed the challenge!

Crissy
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Elizabeth Young wrote:
> but for a blouse I use an 18 shoulder and bust, a 20 waist and often a 
> 22 arm if the sleeve is close fitting.

I recall seeing ads for a company that did personalized patterns.  You 
sent them five thousand precise measurements, paid a joining fee, and 
then you could buy (modern) patterns from them, precisely scaled and 
adjusted for your figure.  Don't know if they're still in business.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  Education and religion are two things not regulated by supply and
demand. The less of either the people have, the less they want.
-- Charlotte Observer, 1897
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Subject: Re: [h-cost] re. pattern wish list
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I pretty much buy every new costume pattern that comes out, just to have
them.  Now that I know they get discontinued I'll probably buy them in
multiple sizes.  I don't usually wait until they go on sale either, but then
I'm a pattern freak.   I just love having lots of patterns around, and I
rarely make them "as is" but it's a great place to start.  A sleeve from
here, a skirt from there.  I end up redrafting most everything, but it's so
much easier to have basic shapes to begin with.

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

"O, what a world of vile ill-favored faults
 looks handsome in three hundred pounds a year!..."
The Merry Wives of Windsor, III, iv - W. Shakespeare

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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: [h-cost] re. medieval bust dart
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“One of the things I was disappointed in with the sideless surcoat one
is that the model on the front looked wonderful and the dress seemed
to have the right lines, but when I actually pulled out the pattern
to see how it had been drafted, there were those pesky Victorian bust
darts. That made me *very* disappointed.”


Kat

Your comment about the “pesky Victorian bust darts” sent me flying to my
pattern archives.  I make all the costumes you see on the pattern envelopes
(the Martha McCain ones, that is) and I knew there was no bust dart
whatsoever in a medieval pattern I had made.  So, I thought maybe the
pattern department at Simplicity had sneaked in one.  But no.  Kat, you have
confused my pattern with someone else’s. Perhaps Butterick?

Before we got more serious about historical accuracy, Simplicity did change
my patterns around a bit for various reasons. I was unhappy that they chose
to piece the sideless gown and cotehardie/kirtle in an odd place because it
had to fit on the pattern tissue.  And I was sad the beautiful thin model
had such long arms that the sleeves, meant to kiss her knuckles, barely
covered her wrists.

I will certainly mention the marketing problems to those who can deal with
it. This is out of my ball park, but I can see it’s a problem and the Front
Office Guys should hear about it.

Martha





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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Can we all just get together and *hate* you? <weg>
I wanna go back sooooo bad!
Have a wonderful time, and don't forget to tell us all about it when
you're home!
--another Susan

Susan wrote:
> 
> De lurking to reply to this thread.. Now that is excitement for you.
> 
> I'll be flying out Monday next to the UK for two weeks!  I am almost besides
> myself at the exhibits that are now open while I'll be there. Not only the
> Gothic Art at the V& A but Pepys' London and 1920s: the decade that changed
> London at the Museum of London. http://www.museumoflondon.org.uk/   The
> LOTR exhibition at the Science Museum
> http://www.sciencemuseum.org.uk/exhibitions/lordoftherings/default_flash.asp
> And well just everything!
> 
> Susan
> 
> ----- Original Message -----
> From: "Robin Netherton" <robin@shell.nightowl.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, October 13, 2003 8:56 AM
> Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
> 
> >
> > On Mon, 13 Oct 2003, Stevie Gamble wrote:
> >
> > > http://www.vam.ac.uk/vastatic/microsites/1220_gothic/introduction.php
> > >
> > > I feel moved to offer sofa space to any h-coster able to beg, steal,
> > > borrow or generally liberate a plane ticket to London between now and
> > > January 18th when the exhibition ends. There are apparently objects
> > > never seen before outside private homes, and likely not to be seen
> > > again after the exhibition ends....
> >
> > Sigh. I've been surfing this site for months. I know a few of the speakers
> > at the conference portion of the program (which is sometime this month,
> > might be over by now). I am jealous, jealous, jealous of anyone who can be
> > there. There was a time when I could have just dropped everything and
> > trotted off, but now with two kids, a traveling spouse, a business, and
> > lecture trips, that's no longer possible. Sigh. Someone go and look well
> > on my behalf, OK?
> >
> > --Robin
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> > [This E-mail was scanned for viruses by Plugit.com Virus Scanners
> (http://www.plugit.com)]
> >
> >
> 
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners (http://www.plugit.com)]
> 
> _______________________________________________
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Why does this all make me think of a costume version of MST3K?
I can just picture watching costume/historical flicks on t.v., with the
"front row" silhouettes of various experts....
Just think, we could have Bjarne and Albert do some of the 18th c.
stuff, and Nicole could comment on the Restoration ones....
--sue

Cindy Abel wrote:
> 
>  Yeah, I was waiting for a look of incomprehension from the Brits.  "Play
> ball? Is this a reference to some kind of weird Roman game?"  And then the
> Brits to decapitate one of those Romans and say: "This is the only kind of
> ball we play with!"
> 
> Too bad Alistar Cooke isn't still around to make some pithy comment(even if
> it had to wait to be in print)about the playing fast and loose with the
> known historical accuracy.
> 
> Although the History Channel runs a film now and then runs a film and
> experts on the era comment now and then during breaks on the accuracies and
> fallicies of each film. Unfortunately, they aren't allowed to get too
> critical of a film--I'm waiting for a kind of VH-1 "pop-up video" version
> for historic films--lots of fun facts and comments in little pop-ups as the
> film runs!
> 
> Can see it now--example Norma Shearer as "Marie Antoinette"  :
> 
> Note: Shearer's up-to-the minute makeup, fashionable '30's shoulder-line,
> 30's fabrics and Ziegfield Follies version of 1770's court-dress done in
> little pop-ups.  Historical inaccuracies--the costume alone!  "Makeup by Max
> Factor"  "Bias cut lame"  "Pure white wig"
> 
> Cindy Abel
> 
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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Costume pattern wish list- Danish patterns
Date: Mon, 13 Oct 2003 22:49:38 -0400
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A friend of mine was at the museum last June, and brought back two patterns,
alas, not for me.  So I started trying to get them then.  Here is a
temporary link to the pattern covers to show you what they look like:
http://www.benchite.com/patterns_from_the_national_museu.htm  I bought these
patterns sight unseen as they are not on the web anywhere.  They have five
different clothing patterns at the moment.  1. The Bocksten Man (mantel,
struthatta, kjortel, hosor and skor, which translates into cape, hood,
dress, leggings and shoes, I think),2. Women's dress and hood, that dress
has two gores in front and two on each side, and elbow length sleeves. 3.
Man's gown and hood, the one with the buttons down the front 4. a second
man's gown and hood, the gown just has two gores each side, and 5. a pattern
for long and short hose.  The hose are "adult size".  All the garments these
were based on were found in  Herjolfsnes, Greenland in 1921, except the
man's pullover gown without buttons which was found in 1840 near the
churchyard according to the pattern information.

Sizing:
Note, these are all garment measurements, not the wearer's measurements!
Hose are in small 38/39 (5/6), medium 40/41 (7/7.5), large 42/43 (8/9), and
X-large 44/45 (10/11).   The small are the original size, measuring 38.5
inches long and 19.75 inches around the thigh.  The XL measure 41 inches in
length and 22 inches around the thigh. The short hose only come in small,
medium, and large.

Woman's gown:
Size small, medium and large, with small being the original size.  Small
lists bust 40 inches, sleeve length 12 inches, dress length 48 inches, while
large lists bust 46.5 inches, sleeve length 12.5 inches, length 57.5 inches.

Man's gown with buttons:
Size small, medium and large.  Size small  chest 53.5 inches, large 63
inches.  Sleeve length 24.5 to 26 inches, length 40 to 43 3/8 inches.

Man's pullover gown:
SML, Chest 43 3/8 inches to 52 3/4 inches, sleeve length 22.5-25 5/8 inches,
garment length 43 3/8 to 49 5/8 inches.

I have no idea on the Bocksten man- it is all in Danish and there are no
tables of measurements.  I think that one may have to be altered to fit.
When I get into the pattern perhaps I'll have more info on it.  The gown
appears to be the one with  the gores starting at the waist instead of at
the armpit like the other gowns.  Perhaps Bjarne can help me out here with
translation, after I get the text typed in.

Contact information:
The National Museum
Frederiksholms Kanal 12
1220 København K
+45 3347 3808
Email: butik@natmus.dk

I called them repeatedly, and it took over 2 months for them to send me the
pro forma invoice.  They do not do credit cards over the phone, so they send
you the invoice, you send it back with credit card info, then they will ship
when they have the money.  It worked out to just over $15 per pattern
including shipping when all was said and done.  If I had seen them first, I
might not have purchased all of them, but I'm also glad I did.  Anyone who
can draft their own patterns probably does not need these, but they include
a little bit of info about the garments they are drafted from, including
where the garments are now, what they are made of , the weave of the cloth,
thread count, etc.  A nice resource.
Hope this helps,
-Megan

Fran had written:
So how did you obtain the patterns?  Who did you contact at the museum,
and what was the procedure?  Is this a book or a pattern, and what is it
called?

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Mon, 13 Oct 2003 20:08:45 -0700
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Subject: Re: [h-cost] re. medieval bust dart
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Status: RO

 
> Your comment about the “pesky Victorian bust darts” sent me flying to
> my pattern archives.  I make all the costumes you see on the pattern
> envelopes (the Martha McCain ones, that is) and I knew there was no
> bust dart whatsoever in a medieval pattern I had made.  So, I thought
> maybe the pattern department at Simplicity had sneaked in one.  But
> no.  Kat, you have confused my pattern with someone else’s. Perhaps
> Butterick?

Simplicity 8725 was the one I was thinking of, but now that I've 
pulled it out, I don't see the princess line I had remembered after 
all. Heaven only knows what I was remembering. Sorry to scare you 
that way!

> Before we got more serious about historical accuracy, Simplicity did
> change my patterns around a bit for various reasons. I was unhappy
> that they chose to piece the sideless gown and cotehardie/kirtle in an
> odd place because it had to fit on the pattern tissue.  And I was sad
> the beautiful thin model had such long arms that the sleeves, meant to
> kiss her knuckles, barely covered her wrists.

It's still done much better than the patterns that other companies do 
(even the small shop ones), despite your frustrations.

I generally don't actually use any of my patterns, but I have them to 
show other people what they can get. (I tend to draft all my own 
patterns and teach my students and apprentices to do the same. The 
patterns are more for the new people who ask me about such things.)

Which is why it is so frustrating when they go out too fast. First 
round you sell fewer because the word has to get out from us teachers 
to the general public. Then the next Halloween season (which they 
tend to include more of this sort of thing) I always hope that people 
will have the opportunity to go out and buy them for themselves. So, 
more often times will be bought on that second time around (at least 
if *I* have anything to do with it.)

> I will certainly mention the marketing problems to those who can deal
> with it. This is out of my ball park, but I can see it’s a problem and
> the Front Office Guys should hear about it.

As to the one I've not been able to find in stock yet, it is your 
9764 in size RR. I must admit I haven't looked for it lately so the 
stores might have it again, if it is still on the books. But the year 
it came out I couldn't find it anywhere because they were all out of 
stock (and I was looking for it at several Portland/Vancouver JoAnns 
stores over several months.)

Kat
<kat@redtrollforge.com>



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Date: Mon, 13 Oct 2003 23:34:30 -0400 (EDT)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Costume pattern wish list- Danish patterns
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Wow!!! Thanks so much for the pictures, and the contact info!  Medieval
scandinavian dress is not my personal period of interest, but I know
several people who will jump up and down with excitement when they see
these.

Drea


On Mon, 13 Oct 2003, Megan M. wrote:

> A friend of mine was at the museum last June, and brought back two patterns,
> alas, not for me.  So I started trying to get them then.  Here is a
> temporary link to the pattern covers to show you what they look like:
> http://www.benchite.com/patterns_from_the_national_museu.htm  I bought these
> patterns sight unseen as they are not on the web anywhere.  They have five
> different clothing patterns at the moment.  1. The Bocksten Man (mantel,
> struthatta, kjortel, hosor and skor, which translates into cape, hood,
> dress, leggings and shoes, I think),2. Women's dress and hood, that dress
> has two gores in front and two on each side, and elbow length sleeves. 3.
> Man's gown and hood, the one with the buttons down the front 4. a second
> man's gown and hood, the gown just has two gores each side, and 5. a pattern
> for long and short hose.  The hose are "adult size".  All the garments these
> were based on were found in  Herjolfsnes, Greenland in 1921, except the
> man's pullover gown without buttons which was found in 1840 near the
> churchyard according to the pattern information.
>
> Sizing:
> Note, these are all garment measurements, not the wearer's measurements!
> Hose are in small 38/39 (5/6), medium 40/41 (7/7.5), large 42/43 (8/9), and
> X-large 44/45 (10/11).   The small are the original size, measuring 38.5
> inches long and 19.75 inches around the thigh.  The XL measure 41 inches in
> length and 22 inches around the thigh. The short hose only come in small,
> medium, and large.
>
> Woman's gown:
> Size small, medium and large, with small being the original size.  Small
> lists bust 40 inches, sleeve length 12 inches, dress length 48 inches, while
> large lists bust 46.5 inches, sleeve length 12.5 inches, length 57.5 inches.
>
> Man's gown with buttons:
> Size small, medium and large.  Size small  chest 53.5 inches, large 63
> inches.  Sleeve length 24.5 to 26 inches, length 40 to 43 3/8 inches.
>
> Man's pullover gown:
> SML, Chest 43 3/8 inches to 52 3/4 inches, sleeve length 22.5-25 5/8 inches,
> garment length 43 3/8 to 49 5/8 inches.
>
> I have no idea on the Bocksten man- it is all in Danish and there are no
> tables of measurements.  I think that one may have to be altered to fit.
> When I get into the pattern perhaps I'll have more info on it.  The gown
> appears to be the one with  the gores starting at the waist instead of at
> the armpit like the other gowns.  Perhaps Bjarne can help me out here with
> translation, after I get the text typed in.
>
> Contact information:
> The National Museum
> Frederiksholms Kanal 12
> 1220 København K
> +45 3347 3808
> Email: butik@natmus.dk
>
> I called them repeatedly, and it took over 2 months for them to send me the
> pro forma invoice.  They do not do credit cards over the phone, so they send
> you the invoice, you send it back with credit card info, then they will ship
> when they have the money.  It worked out to just over $15 per pattern
> including shipping when all was said and done.  If I had seen them first, I
> might not have purchased all of them, but I'm also glad I did.  Anyone who
> can draft their own patterns probably does not need these, but they include
> a little bit of info about the garments they are drafted from, including
> where the garments are now, what they are made of , the weave of the cloth,
> thread count, etc.  A nice resource.
> Hope this helps,
> -Megan
>
> Fran had written:
> So how did you obtain the patterns?  Who did you contact at the museum,
> and what was the procedure?  Is this a book or a pattern, and what is it
> called?
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Date: Mon, 13 Oct 2003 20:51:52 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Clouet painting
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Hi Kat

Thanks for your recommendations. I had seen the _Jean & Francois Clouet_ 
book in a few searches, but no info on how good it was. I will keep an eye 
out for a copy I can afford.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Thanks to you and Robin.

I bugged Fred Struthers (Books on Cloth) to look into the Danish 
patterns. He orders a lot of foreign publications and usually manages to 
overcome inguistic and payment problems.   I don't know if I'd want them 
or not; but Fred is potentially interested in selling them anyway.

Thanks a lot,

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Martha,
What pattern numbers are you talking about that were pulled.
Thanks,
Kelly
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Subject: [h-cost] GBACG Pattern Review Site
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The Greater Bay Area Costumer's Guild pattern review site ("The Great
Pattern Review") is http://www.gbacg.org/Patterns/index.html

Martha, you'll see reviews of some of your patterns on the Simplicity page:
http://www.gbacg.org/Patterns/simplicity.htm

- Kendra
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Subject: Re: [h-cost] Re. willowy models
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Liz brought up many of the points that I wanted to -- the reasons I don't
buy Big 3 historical patterns are:

- the proportions are generally way off.  I'm a size 18 on top with a DD
bust, and I find that my bust point (a major fitting point) is many inches
below where most standard patterns think it should be.  Gravity, people!
Graded patterns always seem to assume that larger size women are built like
refrigerators, rather than accounting for where people usually ARE larger
(and it's not the shoulders!).

- re: willowy models et al -- what actually puts me off about the photos of
(especially) the larger models is that the clothes usually seem to have way
too much design ease.  Liz put the nail on the head when she said that plus
size clothing is usually based on a tent shape -- granted, I know more about
historic costuming than the average person, but I'm not going to buy a
corset pattern that fits loosely!

I do think its fabulous that Simplicity is branching out into nearly period
costumes, and Martha's are the best I've seen.  However, now that I've
learned to draft my own I'm not going back!

- Kendra
http://demode.tweedlebop.com

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Subject: [h-cost] Joann's vegetable prints (WAS Not Paying attention......)
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Hi Karen,

No one said an official yea or nay -- the consensus seemed to be that they
are definitely a decent approximation of a late 18th century Indienne (aka
chintz) print, but that because the design is a bit busier than the 18th
century prints it might work better for 19th century (there was a revival of
18th century prints, including Indiennes, in the 1830s and 1840s).

I'd say if you're worried about being completely period, don't use them for
either, but if you're happy to be as close as you're going to get with
fabric from Joann's, you can use them for either 1780-1800 or 1830-45.

I'm personally making an 1830's day dress out of the reddish one.

If you (or anyone) would like to compare them to some original Indienne's,
here are some links:

- 1780s chintz robe a l'anglaise:
http://www.kci.or.jp/cgi-bin/collection.cgi?lang=e&path=1780/11-006978_a
- 1790s gown:
http://www.memorialhall.mass.edu/collection/itempage.jsp?itemid=5
- Dargate Book (1830s printed fabric swatches):  http://tinyurl.com/qtzk
- 1835 Indian chintz dress (there's a better picture of this, including a
closeup of the fabric, in the Kyoto _Costume_ book):
http://www.kci.or.jp/cgi-bin/collection.cgi?lang=e&path=1820/07-000908_a

- Kendra
http://demode.tweedlebop.com

----- Original Message -----
From: <seamstrix@juno.com>

> I'm afraid I wasn't paying attention recently when some folks were
> discussing the 'vegetable dye' fabrics at JoAnn. Did we actually decide
> if they are appropriate for any time periods or are they all hopelessly
> modern? The designs look fairly good for Indian design motifs, but I'm
> not an expert. A quick summary/refresher would be appreciated!

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Oh, and if anyone would like to see one of these prints, here's an 18th
century jacket made by Katherine of koshka-the-cat.com:

http://www.koshka-the-cat.com/18c_jacket.html

- Kendra
http://demode.tweedlebop.com

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Subject: Re: [h-cost] Re. willowy models
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I am reading a book about when the willowy models started.  The book is
about the 1912-1930s fashion designer, Patou by Meredith Etherington-Smith.
His heyday was in the mid-1920s. In the book it states that the models were
chosen to be thin to distract from the person to the garment.  It was to
show the draping better.

One thing to consider is that certain time periods look better on a heavier
person than a thin person.  I love to see a pigeon breast gown on a heavier
lady.  It takes a lot of padding for a thinner woman and it just doesn't
look as good as a heavier woman.  I also love to see certain Victorian
bustle era costumes on a heavier woman.   BTW, I love the ladies' club in
their suits in the movie The Music Man.  I don't think thin women would have
ever carried that look off.  If I would have worn one of those suits, I
would have looked like a walking stick.

The big shift to women having a thin silhouette came about in 20s.  Patou
tried it in the pre-war era and it wasn't the right time.  In the book there
is much discussion about art and fashion mixing.  Premiere artists were
designing for the theater and it carried over into the mainstream fashion.
If you look at a lot of art deco the women are very elongated.  This was
part of the look of the style of art.  By 1925, the end of the art deco
movement, women's fashions were very straight and elongated.

Designers Patou and Chanel had a lot to do with this.  Patou was shooting
more towards an athletic androgynous look.  Chanel was simplifying the look
of the previous decades.  Both silhouettes were very long and lean.

I do agree there is a problem with the pattern industry with sizing.... but
I think the problem is more with the laughable standardization of clothing
manufacturers.  They are mis-sizing dresses to make one think that they wear
a smaller size than they actually do.  Pattern sizes have remained fairly
consistent over the years.  Their have been changes but very integrated
changes.  In the past 10 years clothing manufacturers have gone wild with
sizes.  I don't really see them coming to a standardization between the two
parts of the industry.  Clothing manufacturers don't want you making your
own clothes, and pattern makers don't want you buying clothes.

As for the problem with the pattern makers grading the patterns incorrectly
for larger sizes...  I suggest writing the companies and letting them know
of the problems.  If enough people let the businesses know of the problem,
they may re-think what they are doing.

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


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Subject: [h-cost] Pattern size and designs (long!)
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Status: RO

A couple of trends seem to be developing here:

(1) "Large" sizes don't fit
(2) "Regular" sizes are either too large or too small, but never the same 
as the RTW clothing size
(3) Most "Big 3" patterns have to be simple enough for beginning sewers who 
don't know squat about alterations and don't have time to learn
(4) Hallowe'en, Theatrical/Dramatic, Fantasy, and Reenactment/Recreation 
costumes are four distinct markets

First things, first:
There has been a definite "size inflation" in RTW clothing since the 
1950's. It accelerated in RTW (but not consistently in Big 3 patterns) when 
some of the top-name designers started relabeling their sizes in the mid- 
to late-1980's. As a result, if you measure a Size 10 pair of slacks from 
Jones New York and compare it to the size chart on the back of any of the 
"Big 3" patterns, you will find its dimensions are closer to those of a 
Size 16 or possibly a Size 18. OTOH, if you're wearing $10-Store clothes 
from Pakistan, your Size 10 slacks probably measure closer to the pattern 
companies' Size 12 or maybe 14. This poses the following problems:

(a) People new to sewing expect to be able to buy the same pattern size as 
their RTW size and have it fit.
(b) Depending on where they buy their clothes, their RTW size -- and 
therefore the pattern size they expect to buy -- differs.
(c) People who have been sewing consistently for a while depend on the 
pattern companies to keep their sizing relatively constant.

Some of this can be ameliorated for experienced sewers using something like 
Vogue does in the back of their _Vogue Patterns_ magazine:  marking each 
pattern as "Very Close Fit", "Close Fit", "Loose Fit", and "Very Loose 
Fit", each corresponding to a certain amount of wearing ease. Because I 
have always had big breasts, I've had more confidence purchasing 
blouse/jacket/dress patterns that were "Loose Fit" or "Very Loose Fit" at 
the bustline because it meant I needed less alteration to make the garment 
fit me.

This does not answer the question for new sewers, nor does it really 
address the "costume" issue -- but it does lead into the next set of 
issues:  body type.

Someone with what used to be considered "ideal" measurements of 36-24-36 
could be flat-chested and broad-shouldered, with big hips and no butt; OR 
she could be flat-chested and broad-shouldered, with narrow hips and a big 
butt, OR she could be narrow-shouldered with a big rib cage, small breasts, 
no hips or butt, but a protruding abdomen, OR she could be 
narrow-shouldered and narrow-ribbed, with big breasts and big hips, OR...

In short, measurements are hardly "one-size-fits-all".

Worse, the larger these measurements get in the absolute, the greater the 
disparities from one body type to the next. Just using the usual "this is 
how you figure your bra size" guides, a woman with a 45" bust could be a 
44A or a 38FF/G. That corresponds to one helluva big difference in how that 
top is going to fit!

We tend to deal with this in RTW by finding a designer or a line that tends 
to fit our body types well, and we stick with it. For years I could go into 
the Women's/Plus Size department of any major department store, go to the 
"petites" section, look for Elisabeth (the large-size line) or Jones New 
York Woman, and find clothes that fit me (except for the occasional hem) 
off-the-rack. OTOH, most of the stuff from Victoria Jones Woman would be 
wide in the shoulders, low and shallow in the breast, and by the time I 
found a size large enough not to gap when I moved my arms wide, it would be 
so large that I could fit my Size 24 mother in the same blouse with me! Do 
you need to *guess* what brands I was wearing?

While we used to be able to do the same thing with patterns to one degree 
or another, the major companies have become consolidated -- and the 
addition of designer lines has resulted in some sizing that is not standard 
for the rest of the pattern company's line -- that I don't think this is 
the case any more. Add to this that when we're dealing with patterns that 
are only available through *one* pattern company to begin with, and the 
frustration level of the average home-sewer (mostly newbies) mounts even 
further.

The other major frustration for the average home sewer is that she most 
likely has not learned tailoring or pattern-fitting in her Home Ec class -- 
if, indeed, she learned sewing in Home Ec at all! While _Vogue Patterns_ 
and _Threads_ magazines have very good tailoring sections, they are often 
beyond the reach of the average home sewer:  either too expensive, or she 
can't find them at her local Jo-Ann's, or the explanations are so technical 
that she can't follow them. If she can't follow the instructions, she can't 
successfully alter her patterns (if, indeed, she figures she has time to do 
fittings/alterations at all).

In this instance, I'd like to bring up a Simplicity publication I'd 
purchased in my teens and later passed along to a pre-teen sewer who was 
just getting started. I think it was called "Let Yourself Sew" or "Ready, 
Set, Sew" or something like that. It was a saddle-bound format, about 
80-100 pages in length, and geared towards the pre-teen or teenaged sewer 
who was still pretty new to the art. It showed her pattern elements in both 
line drawings and real garments (made from Simplicity patterns, of 
course!). It showed her how to get her measurements, choose a pattern size, 
alter the patterns, and put those garments together. It showed her how to 
mix and match pattern pieces to get the look she wanted, ways to add trims 
to make her garment unique, what sort of effects could be had by changing 
the fabric, and so on. It was written at a level where those young women 
could understand what was being said -- but it did not talk down to them.

If Simplicity still publishes something along these lines for pre-teens and 
teenagers, it might be a good idea for them to consider publishing 
something similar, but using more mature/adult styles, aimed at the new 
sewer in her 20's, 30's, 40's, or 50's. It could even go through some 
basics such as how one's body shape changes as she matures, and how to 
adapt your patterns to your changing body.

It might also be useful if patterns were marked with the body type from 
which they were drafted (not just the body type(s) on which they would be 
most flattering) and if models (or line drawings) of varying sizes and body 
types could be used so that the sewer can get a better idea of what a 
design will look like on *her*.

As far as "costumes" are concerned, we will always have distinct markets.
         --The Hallowe'en market usually is looking for something spiffy 
and quick to throw together. It depends heavily on current popular culture 
(e.g. this year's "Matrix Revisited" costumes, last year's "Moulin Rouge" 
costumes, etc.) and is more interested in look than in historical accuracy. 
It is also a segment that very often wants to work on a budget.
         --The dramatic/theatrical market may or may not be dominated by 
school plays and community theater groups. These are looking for 
inexpensive ways to achieve the necessary effect, often in a manner that 
can be adapted to fit several sizes of actor as the costumes may get 
recycled from year to year. As long as the effect looks moderately correct 
(or correct to the untrained eye) on the stage, everything's fine.
         --The fantasy market sometimes has a degree of overlap with the 
Hallowe'en market. In addition to Trick-or-Treaters and Hallowe'en parties, 
this includes parts of the Renfaire market and -- perhaps to an even larger 
degree -- the LARP (Live Action Role-Playing) market. Some of these folk 
may worry about visible closures such as zippers versus laces, others may 
not (I'm not familiar with the market).
         --The Re-enactment/Re-creation market is the toughest market to 
sell to. In short, they're h-costumers and future h-costumers. They're 
looking to re-create extant garments with modern materials -- sometimes 
with modern methods, sometimes with historical ones. They're the ones that 
want historical documentation and copious bibliographic references. They're 
the ones that want to know that, if you've fused together two different 
extant dresses to create a "new" design, which two dresses they were and 
why you feel that it's correct to have fused the elements of those two 
garments. They're the ones that want the historically-accurate 
underpinnings (with the possible exception of adding a pair of bloomers to 
medieval/ren garb for modesty's sake) and the historically-correct 
headgear. They're the ones who b*tch and moan if the color combinations on 
the pattern-envelope are not correct to the exact year, locale (to within 
ten arc-minutes longitude and latitude), and socioeconomic class the design 
is supposed to represent. Many of them expect to have to do muslins and 
alterations -- but they want those alterations to be done by methods that 
might have been correct to the time and place of the garments in question.

It might help with some of the costumes if Simplicity and the other pattern 
companies would label the designs for the market or markets that might best 
make use of these designs, and track the ROIs for each costume market 
separately. Separate pricing schemes and catalog lifetimes may be required 
depending upon the complexity of the pattern and that sub-market's usual 
ROI-per-design.


Well, that's this round of observations...



Brenda
webwarren@earthlink.net


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Subject: [h-cost] Who's the Real Designer
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For a long time, I have stood by the belief that a successful fashion
designer is more of a business person than designer.  Last night, when
reading the Patou book, I ran across a couple of interesting paragraphs,
that I thought I would share and put up for discussion on the list.

This is from a discussion with Baron de Meyer, a very popular fashion
photographer of the 1920s, and fashion designer, Patou.

"De Meyer then asked Patou the question that had been debated in some of the
drawing rooms of Paris.  Did he actually create his models, or was he a
couture Svengali, leaching the talents of others, nameless designers?  Patou
was characterististically straightforward about this. (Penny statement...
some of these designers became famous in the next decade)

'I wouldn't know how to design,' he replied. 'I couldn't even if I wanted
to, for I can't draw, and a pair of scissors in my hands becomes a dangerous
weapon.  Consequently, my origination must differ from those other
dressmaking establishments and I have a laboratory.  Here designers are at
work producing sketches both for new models and embroideries.' "

Quoted from the book Patou, authored by Meredith Etherington-Smith, 1984
ISBN 0-312-59816-5.  Ms. Smith was the editor of "The Magazine" and writer
for both Paris and Italian "Vogue Magazine."

Patou considered himself a fashion editor... the final say on the editing or
refining of the creations was his.  He was known for pulling dresses right
before a model was to go down the runway, because he didn't like the way it
looked on the wearer.  He was known to bring 300-600 creations to a showing
and weeding them down as the show went on.

The book continues to say that most couturiers did not know how to sketch
until Dior.  I have read another book from the teens and 20s designers, that
said that popular illustrators/artists were given an idea of what the
designer wanted in a collections.  The illustrators would submit croquis
(fashion renderings) and the *designers* would choose which ones they liked.
Sometimes there were cat fights among the fashion designers as to who could
get which illustrators to work for them during the art deco movement.

Now where success is with these designers is that they were excellent at
marketing themselves to their target markets.  Chanel, Patou, Worth, Dior,
and Pioret were all great at marketing.  Patou was one of the first
designers to mass market to the general public.  His principle clients that
made him popular were tennis and swimming athletes and movie stars. Then he
went for the upper middle class all over the world.   He contracted
wholesale companies in New York City to make his designs.  I have a copy of
one of these 1922 *models' books* from NYC and Paris, that belonged to a
contractor.  The contractor would show the book to clients and they would
produce the dresses to the client's specs.  There are 15 different
designer's croquis in the book.  Patou by far had the most croquis in it.

BTW, just for letting you know Patou was famous for his creations of tennis
outfits and one-piece bathing suits.

So with this presented... who do you think are the real designers of
clothing lines.  Open topic... I am interested in what others think.

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


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Subject: Re: [h-cost] Pattern size and designs (long!)
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Brenda,

Wonderfully stated!  Thank you!

BTW, I have two of those Simplicity books for teens... a required purchase
for my first Home Ec. classes.

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


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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: "Historical Costume" <h-costume@indra.com>
References: <026901c39223$1ffb9d40$0400a8c0@comcast.net>
Subject: Re: [h-cost] Who's the Real Designer
Date: Tue, 14 Oct 2003 10:00:39 +0100
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well having worked with several 'up and comings' recently apart from the odd
one I would say daddy's money and the staff who interpret the squiggle
(pretty much the same in film and theatre as well).
There has been a lot of fuss in teh British press recently re Stella
McCartney's talent over daddy's name but as she has some of the finest
ateliers behind her we'll never know if she can design or not!!

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113
>
> So with this presented... who do you think are the real designers of
> clothing lines.  Open topic... I am interested in what others think.
>


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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] Martha's 19th century corset pattern
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Hi all,

I actually bought this pattern, despite having no intention whatsoever
of actually making it up. I wanted to contrast it with much earlier
corset designs, and I was very impressed with both the pattern and the
documentation. I was also impressed by the fact that it specified how
to do larger cup sizes; a bug bear of almost all pattern
constructions. So, congratulations Martha!
And I thought that the lady on the pattern cover was beautiful, and I
am nowhere near a size 20.
Incidentally, I live in London, England, where patterns are very
expensive; I sit drooling over the mails when people are announcing
99c pattern sales. And I've been known to buy half price Buttericks
from the US website because even with international shipping it's
cheaper than buying them here...

best wishes
Stevie



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Pattern size and designs (long!)
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On Tue, 14 Oct 2003, Brenda Bell wrote:

> A couple of trends seem to be developing here:

<rest snipped>

What a great summary! Perhaps you could send this to Simplicity?

--Robin

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Subject: Re: Re: [h-cost] re. pattern wish list
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Ooh and the men's Regency stuff! You see the Georgian and
Victorian sometimes but rarely the Regency. I have some gowns
for myself, but have no idea how to do something for my
husband.... not that we have anywhere to wear it now that we
live in Atlanta... but still, I want it!

Teena



---- On Tue, 14 Oct 2003, sewinggoddess@att.net
(sewinggoddess@att.net) wrote:

> OOh, wait one more for the pattern wish list!
> 
> I would dearly love to see a great Men's Cavalier outfit, one
done in a simple style and another one
> with all the lace 
> trimmings.  And a decent CAvalier overcoat too, please. I'm
tired of redrafting the one style I have
> made to fit all the 
> gentlemen who want it.
> 
> Thanks! 
> 
>   I just finished the Corset pattern with the bust gores for a
friend and it fit her beautifully!  
> Did you realize that the 
> instructions *never* say what to do with the waist stay once
it's " pinned in place"?  And I've been
> sewing for 25 years now 
> and I must say that this one took some time to figure out.
Definitely not for the weekend sewer. But
> I enjoyed the challenge!
> 
> Crissy
> _______________________________________________
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> h-costume@mail.indra.com
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> 
> 

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Subject: Re: [h-cost] Costume pattern wish list- Danish patterns
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Fran Grimble wrote:
> Thanks to you and Robin.
> 
> I bugged Fred Struthers (Books on Cloth) to look into the Danish 
> patterns. He orders a lot of foreign publications and usually manages to 
> overcome inguistic and payment problems.   I don't know if I'd want them 
> or not; but Fred is potentially interested in selling them anyway.


	oo! if he can get them, I'd be interested in buying them. 
I've lost his contact info,though.
	-Judy Mitchell

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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Costume pattern wish list- Danish patterns
Date: Tue, 14 Oct 2003 08:58:06 -0400
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I forgot to add, they are now 98 DKK each, about $15 to $15.50 with
shipping. I bought two of each, figuring if I was paying all that shipping I
may as well have a spare.  A friend has already spoken for the extras.
-Megan

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Drea Leed
Sent: Monday, October 13, 2003 11:35 PM
To: Historical Costume
Subject: RE: [h-cost] Costume pattern wish list- Danish patterns


Wow!!! Thanks so much for the pictures, and the contact info!  Medieval
scandinavian dress is not my personal period of interest, but I know
several people who will jump up and down with excitement when they see
these.

Drea


On Mon, 13 Oct 2003, Megan M. wrote:

> A friend of mine was at the museum last June, and brought back two
patterns,
> alas, not for me.  So I started trying to get them then.  Here is a
> temporary link to the pattern covers to show you what they look like:
> http://www.benchite.com/patterns_from_the_national_museu.htm  I bought
these
> patterns sight unseen as they are not on the web anywhere.  They have five
> different clothing patterns at the moment.  1. The Bocksten Man (mantel,
> struthatta, kjortel, hosor and skor, which translates into cape, hood,
> dress, leggings and shoes, I think),2. Women's dress and hood, that dress
> has two gores in front and two on each side, and elbow length sleeves. 3.
> Man's gown and hood, the one with the buttons down the front 4. a second
> man's gown and hood, the gown just has two gores each side, and 5. a
pattern
> for long and short hose.  The hose are "adult size".  All the garments
these
> were based on were found in  Herjolfsnes, Greenland in 1921, except the
> man's pullover gown without buttons which was found in 1840 near the
> churchyard according to the pattern information.
>
> Sizing:
> Note, these are all garment measurements, not the wearer's measurements!
> Hose are in small 38/39 (5/6), medium 40/41 (7/7.5), large 42/43 (8/9),
and
> X-large 44/45 (10/11).   The small are the original size, measuring 38.5
> inches long and 19.75 inches around the thigh.  The XL measure 41 inches
in
> length and 22 inches around the thigh. The short hose only come in small,
> medium, and large.
>
> Woman's gown:
> Size small, medium and large, with small being the original size.  Small
> lists bust 40 inches, sleeve length 12 inches, dress length 48 inches,
while
> large lists bust 46.5 inches, sleeve length 12.5 inches, length 57.5
inches.
>
> Man's gown with buttons:
> Size small, medium and large.  Size small  chest 53.5 inches, large 63
> inches.  Sleeve length 24.5 to 26 inches, length 40 to 43 3/8 inches.
>
> Man's pullover gown:
> SML, Chest 43 3/8 inches to 52 3/4 inches, sleeve length 22.5-25 5/8
inches,
> garment length 43 3/8 to 49 5/8 inches.
>
> I have no idea on the Bocksten man- it is all in Danish and there are no
> tables of measurements.  I think that one may have to be altered to fit.
> When I get into the pattern perhaps I'll have more info on it.  The gown
> appears to be the one with  the gores starting at the waist instead of at
> the armpit like the other gowns.  Perhaps Bjarne can help me out here with
> translation, after I get the text typed in.
>
> Contact information:
> The National Museum
> Frederiksholms Kanal 12
> 1220 København K
> +45 3347 3808
> Email: butik@natmus.dk
>
> I called them repeatedly, and it took over 2 months for them to send me
the
> pro forma invoice.  They do not do credit cards over the phone, so they
send
> you the invoice, you send it back with credit card info, then they will
ship
> when they have the money.  It worked out to just over $15 per pattern
> including shipping when all was said and done.  If I had seen them first,
I
> might not have purchased all of them, but I'm also glad I did.  Anyone who
> can draft their own patterns probably does not need these, but they
include
> a little bit of info about the garments they are drafted from, including
> where the garments are now, what they are made of , the weave of the
cloth,
> thread count, etc.  A nice resource.
> Hope this helps,
> -Megan
>
> Fran had written:
> So how did you obtain the patterns?  Who did you contact at the museum,
> and what was the procedure?  Is this a book or a pattern, and what is it
> called?
>
> _______________________________________________
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> h-costume@mail.indra.com
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>


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From h-costume-bounces@indra.com  Tue Oct 14 09:47:09 2003
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From: Christine Krebs-Bonder <ckbonder@earthlink.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] pattern wish list
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My Pattern Wish List... hmmm. Let's work backwards:

Twentieth Century

I'd love to have more 1920s and early 1930s patterns available. Not just the flapper dresses or evening wear but day dresses, tea gowns, tennis or other athletic clothes, and proper period lingerie (modern bras just don't cut it if you want the right line). I bought the Simplicity "Chicago"/flapper pattern this past weekend, but haven't had a chance to do more than glance at it yet. I'd also love to get hold of gentlemen's patterns for the same era that AREN'T "zoot suits." There's some outfits described in Fitzgerald's "The Great Gatsby" that I'd like to create...

Nineteenth Century

I'd love to see children's and young ladies(teen age) patterns for everyday dress and "Sunday Best". My 14 year old niece wants me to help her make a few dresses based on Bennett's "A Little Princess" and Louisa May Alcott's "Eight Cousins" (She just got her "sewing machine license" in Home Ec class and is very enthusiastic. If anyone has an extra copy of that Simplicity book on learning to sew, alter and fit patterns they'd like to sell me so I can give it to my niece, please contact me off-list).

Renaissance Europe

How about a later Italian Renn circa 1570 - 1600? Patterns for hats and headresses from various periods? Yorkist style dresses that have pattern pieces for different sleeves? 

And my last wish list item: I'd like it if the backs of pattern envelopes had the line drawings for both the front and backs of the garment, especially when the photograph is of a coat, dress, trousers, etc. done up in black or dark fabric thatmakes it difficult to see the details of line (The Simplicity pattern for the Matrix Revisited coats comes to mind. I got yelled at in the store by a clerk because I pulled the instruction insert out of the envelope (I did put it back) so I could actually see if the front panels were one big panel or several panels). 

Christine in Dayton >^..^<




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Speaking of Greenberg and Hammer, does anyone have their website/contact
info? I managed to lose my bookmark for them....
Thanks,
Sue

dch@inreach.com wrote:
> 
 
> P.S. I know that Greenberg & Hammer in New York carries it but I couldn't
> find it at their online store.  If you request a catalog, it is in the
> interfacings section.
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www.greenberg-hammer.com

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sue Clemenger
Sent: Tuesday, October 14, 2003 8:44 AM
To: Historical Costume
Subject: Re: [h-cost] toile tailleur

Speaking of Greenberg and Hammer, does anyone have their website/contact
info? I managed to lose my bookmark for them....
Thanks,
Sue

dch@inreach.com wrote:
> 
 
> P.S. I know that Greenberg & Hammer in New York carries it but I
couldn't
> find it at their online store.  If you request a catalog, it is in the
> interfacings section.
_______________________________________________
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Subject: [h-cost] PATTERN STORAGE
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 Cheap pattern storage. If you have access to boxes of
paper for copy machines, they make great pattern
storage boxes. They're fairly sturdy and don't
collapse if you stack one on the other.  I'm sure
someone out there has more patterns than I do and I'm
up to 2 boxes.

=====
Aurum peccamenes multifariam texit

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Subject: Re: [h-cost] PATTERN STORAGE
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Yeah, I had to upgrade to the expensive roll away drawers. The clear ones.
I am up to 7 of the 4.5 foot tall ones with 5 drawers. One is nothing but
vintage and non vintage glove patterns and a few other vintage patterns.
The other is nothing but specialtiy costume patterns like Margo's stuff.
The others are commercial costume patterns and regular clothing patterns
for the hubby and kids.

I got them at SAM's for 19.00 each. At the container store they got from
29.99 to 39.99

The only reason I went with this is cause our copier boxes went out after
12 years of use so they are definitely a good alternative! :)

Chiara

>  Cheap pattern storage. If you have access to boxes of
> paper for copy machines, they make great pattern
> storage boxes. They're fairly sturdy and don't
> collapse if you stack one on the other.  I'm sure
> someone out there has more patterns than I do and I'm
> up to 2 boxes.
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
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To: "Historical Costume" <h-costume@indra.com>
References: <BFEHIMCIGHOOMKCFPMCEKEAIHHAA.megan@benchite.com>
Subject: Re: [h-cost] Costume pattern wish list- Danish patterns
Date: Tue, 14 Oct 2003 16:50:36 +0200
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Hi Megan.
Off cause i shall help you with danish translation, go ahead.
When i was at a museum in Sweden (Kulturen in Lund), i observed they had a
lot of different medieval patterns.
But it is not my period, so i did not notice further.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 4:49 AM
Subject: RE: [h-cost] Costume pattern wish list- Danish patterns


> A friend of mine was at the museum last June, and brought back two
patterns,
> alas, not for me.  So I started trying to get them then.  Here is a
> temporary link to the pattern covers to show you what they look like:
> http://www.benchite.com/patterns_from_the_national_museu.htm  I bought
these
> patterns sight unseen as they are not on the web anywhere.  They have five
> different clothing patterns at the moment.  1. The Bocksten Man (mantel,
> struthatta, kjortel, hosor and skor, which translates into cape, hood,
> dress, leggings and shoes, I think),2. Women's dress and hood, that dress
> has two gores in front and two on each side, and elbow length sleeves. 3.
> Man's gown and hood, the one with the buttons down the front 4. a second
> man's gown and hood, the gown just has two gores each side, and 5. a
pattern
> for long and short hose.  The hose are "adult size".  All the garments
these
> were based on were found in  Herjolfsnes, Greenland in 1921, except the
> man's pullover gown without buttons which was found in 1840 near the
> churchyard according to the pattern information.
>
> Sizing:
> Note, these are all garment measurements, not the wearer's measurements!
> Hose are in small 38/39 (5/6), medium 40/41 (7/7.5), large 42/43 (8/9),
and
> X-large 44/45 (10/11).   The small are the original size, measuring 38.5
> inches long and 19.75 inches around the thigh.  The XL measure 41 inches
in
> length and 22 inches around the thigh. The short hose only come in small,
> medium, and large.
>
> Woman's gown:
> Size small, medium and large, with small being the original size.  Small
> lists bust 40 inches, sleeve length 12 inches, dress length 48 inches,
while
> large lists bust 46.5 inches, sleeve length 12.5 inches, length 57.5
inches.
>
> Man's gown with buttons:
> Size small, medium and large.  Size small  chest 53.5 inches, large 63
> inches.  Sleeve length 24.5 to 26 inches, length 40 to 43 3/8 inches.
>
> Man's pullover gown:
> SML, Chest 43 3/8 inches to 52 3/4 inches, sleeve length 22.5-25 5/8
inches,
> garment length 43 3/8 to 49 5/8 inches.
>
> I have no idea on the Bocksten man- it is all in Danish and there are no
> tables of measurements.  I think that one may have to be altered to fit.
> When I get into the pattern perhaps I'll have more info on it.  The gown
> appears to be the one with  the gores starting at the waist instead of at
> the armpit like the other gowns.  Perhaps Bjarne can help me out here with
> translation, after I get the text typed in.
>
> Contact information:
> The National Museum
> Frederiksholms Kanal 12
> 1220 København K
> +45 3347 3808
> Email: butik@natmus.dk
>
> I called them repeatedly, and it took over 2 months for them to send me
the
> pro forma invoice.  They do not do credit cards over the phone, so they
send
> you the invoice, you send it back with credit card info, then they will
ship
> when they have the money.  It worked out to just over $15 per pattern
> including shipping when all was said and done.  If I had seen them first,
I
> might not have purchased all of them, but I'm also glad I did.  Anyone who
> can draft their own patterns probably does not need these, but they
include
> a little bit of info about the garments they are drafted from, including
> where the garments are now, what they are made of , the weave of the
cloth,
> thread count, etc.  A nice resource.
> Hope this helps,
> -Megan
>
> Fran had written:
> So how did you obtain the patterns?  Who did you contact at the museum,
> and what was the procedure?  Is this a book or a pattern, and what is it
> called?
>
> _______________________________________________
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] re. pattern wish list
To: Historical Costume <h-costume@indra.com>
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We need to get Andrea Schewe on this list. Snh snh
snh. Unfortunately 1:00pm is when people are at work.
Otherwise, I'd love to listen in. 



--- Martha Kelly <marthakelly@nyc.rr.com> wrote: > If
you want to catch the ear of the two ladies who
> choose which patterns are
> developed at Simplicity, come to the live chat this
> Thursday at 1:00 PM
> Eastern time. Abbie and Betsy will both be there.
> Just go to the Simplicity
> web site.  I could (and will) pass along your
> suggestions, but it will be
> more effective if you talk to them directly. 
> Express your size concerns,
> fitting problems, and what sort of patterns you’d
> like to see in the future.
> They really will be interested. Andrea Schewe is the
> guest speaker and she
> does most of the Ren Faire costumes.
> 


=====
Aurum peccamenes multifariam texit

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From: kat@grendal.rain.com
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Date: Tue, 14 Oct 2003 07:56:34 -0700
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<Lots of snipping of definitely on target stuff.>

> In this instance, I'd like to bring up a Simplicity publication I'd
> purchased in my teens and later passed along to a pre-teen sewer who
> was just getting started. I think it was called "Let Yourself Sew" or
> "Ready, Set, Sew" or something like that. It was a saddle-bound
> format, about 80-100 pages in length, and geared towards the pre-teen
> or teenaged sewer who was still pretty new to the art. It showed her
> pattern elements in both line drawings and real garments (made from
> Simplicity patterns, of course!). It showed her how to get her
> measurements, choose a pattern size, alter the patterns, and put those
> garments together. It showed her how to mix and match pattern pieces
> to get the look she wanted, ways to add trims to make her garment
> unique, what sort of effects could be had by changing the fabric, and
> so on. It was written at a level where those young women could
> understand what was being said -- but it did not talk down to them.

The pity is that this *is* marketed toward teens but most new sewers, 
especially those getting into historical costuming, are often at the 
same level. But they wouldn't be caught dead or wouldn't think of 
getting a book marketed for teens.

I actually started working on a manual of this sort for reenactors 
(which was going to be accompanied by a video) but I found that I 
just don't have the kind of time it takes to do that level of 
project. (And then the people who had offered to help me with it had 
been cutting me out of the loop, and then *they* dropped it.)

It sure would be wonderful if we could get a commercial quality 
product of this sort geared to the historical costumer. It would sure 
make their lives easier. (And ours, since we could spend more time 
teaching the upper level sewers and not quite so many of the new-to-
sewing people.) But this type would have to come out of the 
historical community because of it's "limited audience."

> If Simplicity still publishes something along these lines for
> pre-teens and teenagers, it might be a good idea for them to consider
> publishing something similar, but using more mature/adult styles,
> aimed at the new sewer in her 20's, 30's, 40's, or 50's. It could even
> go through some basics such as how one's body shape changes as she
> matures, and how to adapt your patterns to your changing body.

Exactly. And maybe we'd see a resurgence of home sewing. Over the 
years I've been noticing that there are fewer and fewer people 
sewing. The sewing machine people have complained about it (selling 
less) and we've noticed it (fewer fabric stores and those remaining 
are segueing into craft stores)

<More snippage of stuff which is right on the mark.>

Kat
<kat@redtrollforge.com>


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <026901c39223$1ffb9d40$0400a8c0@comcast.net>
Subject: Re: [h-cost] Who's the Real Designer
Date: Tue, 14 Oct 2003 16:55:33 +0200
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The real artists are those who work backstage in the sewing rooms. All the
nameless embroiderers, all the nameless fantastic drapers and all the
fantastic couturiers.
As often, it also is those who gets badly payed.
I hate that system, it is so injustice, hate it hate it hate it!!!


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" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 9:16 AM
Subject: [h-cost] Who's the Real Designer


> For a long time, I have stood by the belief that a successful fashion
> designer is more of a business person than designer.  Last night, when
> reading the Patou book, I ran across a couple of interesting paragraphs,
> that I thought I would share and put up for discussion on the list.
>
> This is from a discussion with Baron de Meyer, a very popular fashion
> photographer of the 1920s, and fashion designer, Patou.
>
> "De Meyer then asked Patou the question that had been debated in some of
the
> drawing rooms of Paris.  Did he actually create his models, or was he a
> couture Svengali, leaching the talents of others, nameless designers?
Patou
> was characterististically straightforward about this. (Penny statement...
> some of these designers became famous in the next decade)
>
> 'I wouldn't know how to design,' he replied. 'I couldn't even if I wanted
> to, for I can't draw, and a pair of scissors in my hands becomes a
dangerous
> weapon.  Consequently, my origination must differ from those other
> dressmaking establishments and I have a laboratory.  Here designers are at
> work producing sketches both for new models and embroideries.' "
>
> Quoted from the book Patou, authored by Meredith Etherington-Smith, 1984
> ISBN 0-312-59816-5.  Ms. Smith was the editor of "The Magazine" and writer
> for both Paris and Italian "Vogue Magazine."
>
> Patou considered himself a fashion editor... the final say on the editing
or
> refining of the creations was his.  He was known for pulling dresses right
> before a model was to go down the runway, because he didn't like the way
it
> looked on the wearer.  He was known to bring 300-600 creations to a
showing
> and weeding them down as the show went on.
>
> The book continues to say that most couturiers did not know how to sketch
> until Dior.  I have read another book from the teens and 20s designers,
that
> said that popular illustrators/artists were given an idea of what the
> designer wanted in a collections.  The illustrators would submit croquis
> (fashion renderings) and the *designers* would choose which ones they
liked.
> Sometimes there were cat fights among the fashion designers as to who
could
> get which illustrators to work for them during the art deco movement.
>
> Now where success is with these designers is that they were excellent at
> marketing themselves to their target markets.  Chanel, Patou, Worth, Dior,
> and Pioret were all great at marketing.  Patou was one of the first
> designers to mass market to the general public.  His principle clients
that
> made him popular were tennis and swimming athletes and movie stars. Then
he
> went for the upper middle class all over the world.   He contracted
> wholesale companies in New York City to make his designs.  I have a copy
of
> one of these 1922 *models' books* from NYC and Paris, that belonged to a
> contractor.  The contractor would show the book to clients and they would
> produce the dresses to the client's specs.  There are 15 different
> designer's croquis in the book.  Patou by far had the most croquis in it.
>
> BTW, just for letting you know Patou was famous for his creations of
tennis
> outfits and one-piece bathing suits.
>
> So with this presented... who do you think are the real designers of
> clothing lines.  Open topic... I am interested in what others think.
>
> Penny Ladnier
> Owner, The Costume Gallery & Costume Classroom
> www.costumegallery.com
> www.costumeclassroom.com
>
>
> [This E-mail was scanned for viruses by Plugit.com Virus Scanners
(http://www.plugit.com)]
>
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> And my last wish list item: I'd like it if the backs of pattern
> envelopes had the line drawings for both the front and backs of the
> garment, especially when the photograph is of a coat, dress, trousers,
> etc. done up in black or dark fabric thatmakes it difficult to see the
> details of line (The Simplicity pattern for the Matrix Revisited coats
> comes to mind.

Oh, definitely. One of my frustrations with patterns is that I have 
to pull them out to see what the pattern actually looks like. While I 
like the pretty photograph or artists rendering of what the dress is 
supposed to look like, I feel that it doesn't really give me the same 
information (because of the stylization or the things that Christine 
mentioned or because of body parts covering just the area I want to 
see) as the line drawings we *do* (thankfully) get for the back.

Kat
<kat@redtrollforge.com>


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] pattern wish list
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 Something else I'd like to see are some patterns for
men and women circa 1830. Occasionally some events
come up on reenactment for the Texas Revolution (No
Davy Crockett probably didn't wear a coonskin cap) and
we mostly make do with hastily camoflaged modern
clothes. I'd love to do more in depth research on
that, but so far I haven't had the time.

=====
Aurum peccamenes multifariam texit

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>  Cheap pattern storage. If you have access to boxes of
> paper for copy machines, they make great pattern
> storage boxes. They're fairly sturdy and don't
> collapse if you stack one on the other.  I'm sure
> someone out there has more patterns than I do and I'm
> up to 2 boxes.

And one of the nice things is that if they have acid/lignen free 
paper in them to begin with, usually the company uses a acid free box 
as well (so as not to damage the paper).

I generally use comic book boxes. Just the right size for most 
patterns (although the really big ones I have to put in sizeways) and 
they are definitely acid free (so that my patterns and the like last 
longer.)

Kat
<kat@redtrollforge.com>


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Thanks!
--sue

Kim Baird wrote:
> 
> www.greenberg-hammer.com
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Sue Clemenger
> Sent: Tuesday, October 14, 2003 8:44 AM
> To: Historical Costume
> Subject: Re: [h-cost] toile tailleur
> 
> Speaking of Greenberg and Hammer, does anyone have their website/contact
> info? I managed to lose my bookmark for them....
> Thanks,
> Sue
> 
> dch@inreach.com wrote:
> >
> 
> > P.S. I know that Greenberg & Hammer in New York carries it but I
> couldn't
> > find it at their online store.  If you request a catalog, it is in the
> > interfacings section.
> _______________________________________________
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Yeah, but keep them *away* from your cats! Mine think those boxes are
the coolest variations on scratching posts that they've ever seen!
--sue, too much stuff, not enough room ;o)

Catalina Sanabria Rosado wrote:
> 
>  Cheap pattern storage. If you have access to boxes of
> paper for copy machines, they make great pattern
> storage boxes. They're fairly sturdy and don't
> collapse if you stack one on the other.  I'm sure
> someone out there has more patterns than I do and I'm
> up to 2 boxes.
> 
> =====
> Aurum peccamenes multifariam texit
> 
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Subject: [h-cost] You have the ear of Simplicity
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You folks have overwhelmed me in the past couple of days.  What a lot of
thoughtful suggestions.  I wish I had time to respond to every one right
now, but I'm trying to meet a deadline and I have to stick to the cutting
table.

I called my friend Betsy at Simplicity this morning.  I'm not sure of her
exact title, but she's the in-house designer and head of the craft
department.  She rides herd on all the free-lancers, too. I told her about
all the interesting input on h-costume and she wants to read the transcript.
Since she isn't a computer person, I'll have to sacrifice a few trees to
print it all out.

Betsy and Abbie are the two people you should talk to about policy change if
you can possibly get to Thursday's chat. Requests will be more effective if
directly from you all and not filtered through me.

The most wonderful person to deal with if you're looking for an out of print
pattern or a fabric you'd like to source - or just about anything - is Sue
Fleck.  She's out in the Michigan office and I've never met her in person,
but she's great by e-mail. And please let her know if any of the sewing
directions are vague, confusing, or just plain wrong.  Hopefully it can be
corrected in the next printing and her staff will be able to help people who
call in.

Sue Fleck,
Consumer Relations Manager (Simplicity, New Look, Conso, Wrights)
Susan Fleck [SFleck@Simplicity.com]
Toll free line 888-588-2700

By the way, Betsy tells me they keep the patterns that have been pulled from
the catalogue out in Michigan and, as long as the supply holds out, they'll
gladly sell them.  They don't have the ability to print on demand at this
time, so they have to crank up the huge presses to print a new run of
patterns.  This, of course, they can't do unless they plan to reissue the
tissue.

The sizing is always a fuss.  I have a complete "official" size chart, not
just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
photographed and they grade up and down from my size ten pattern. I think if
people knew what exact measurements the pattern was meant to fit, they'd
have a better idea of how to alter it. I've mentioned this several times to
them and gotten no interest. Does anybody agree/disagree with me?  I think
they could print a huge chart in the catalogue, or that little magazine they
sell in the spring so people could take it home with them. Would that help?
You know there's no hope of coming up with a highly shaped period bodice
that doesn't have to be fit in muslin to the actual person.

Whew!  And I said I had to stick to the cutting table.

Martha



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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Tue, 14 Oct 2003 09:14:11 -0700
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Subject: Re: [h-cost] You have the ear of Simplicity
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> The sizing is always a fuss.  I have a complete "official" size chart,
> not just bust, waist, hips.  I make a (Simplicity) size ten outfit to
> be photographed and they grade up and down from my size ten pattern. I
> think if people knew what exact measurements the pattern was meant to
> fit, they'd have a better idea of how to alter it. I've mentioned this
> several times to them and gotten no interest. Does anybody
> agree/disagree with me?  I think they could print a huge chart in the
> catalogue, or that little magazine they sell in the spring so people
> could take it home with them. Would that help? 

You mean the pattern books don't have that chart anymore? That used 
to be a feature. But then, they've also removed most (if not all) of 
the fitting patterns so it doesn't really surprise me too much that 
they have removed the sizing charts. (I don't really look at that 
sort of thing anymore. I've been sewing for over 35 years and only 
had to get a "new chart" once in that time, when they had the big 
pattern size change across the board.)

> Whew!  And I said I had to stick to the cutting table.

Yes, please do not let us interfere with your production of those 
wonderful patterns. We really like them and would appreciate seeing 
more from you! Back to work with you!

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Tue Oct 14 12:42:04 2003
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Subject: Re: [h-cost] PATTERN STORAGE
From: "Chiara" <chiara@io.com>
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Nah, I bet I am only the tip of the iceberg of the who's who on this list.
Especially Margo. I bet that girl has hundreds of patterns just for
researching slopes! Margo?

Not to mention Penny who has a library to maintain for those of us that
use it for those really pretty things she has been finding that are
anywhere from 75 to 100 years old. :) Have you all seen her new embroidery
pattern collection?!?

Chiara

> Holy cr@p!, girl...
> I think you may, de facto, be Queen of Pattern Stashes! <g>
> I have one smallish Rubbermaid tub of patterns, plus a bunch of my own
> hand-drafted patterns made from canvas scraps (I used to work at a
> canvas place), which hang from special hangers in my closet.  My fabric
> stash, on the other hand....;-D
> --sue
>
> Chiara wrote:
>>
>> Yeah, I had to upgrade to the expensive roll away drawers. The clear
>> ones. I am up to 7 of the 4.5 foot tall ones with 5 drawers. One is
>> nothing but vintage and non vintage glove patterns and a few other
>> vintage patterns. The other is nothing but specialtiy costume patterns
>> like Margo's stuff. The others are commercial costume patterns and
>> regular clothing patterns for the hubby and kids.
>>
>> I got them at SAM's for 19.00 each. At the container store they got
>> from 29.99 to 39.99
>>
>> The only reason I went with this is cause our copier boxes went out
>> after 12 years of use so they are definitely a good alternative! :)
>>
>> Chiara
>>
>> >  Cheap pattern storage. If you have access to boxes of
>> > paper for copy machines, they make great pattern
>> > storage boxes. They're fairly sturdy and don't
>> > collapse if you stack one on the other.  I'm sure
>> > someone out there has more patterns than I do and I'm
>> > up to 2 boxes.
>> >
>> > =====
>> > Aurum peccamenes multifariam texit
>> >
>> > ________________________________________________________________________
>> Want to chat instantly with your online friends?  Get the FREE
>> Yahoo! Messenger http://mail.messenger.yahoo.co.uk
>> > _______________________________________________
>> > 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-bounces@indra.com  Tue Oct 14 12:43:01 2003
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Subject: RE: [h-cost] Pattern size and designs (long!)
Date: Tue, 14 Oct 2003 11:36:53 -0500
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Any idea if they are still being printed? Or where I might find a copy?
Or title and ISBN for ILL?
I'm feeling the desire to expand my skill set, and "Intro to 
Altering" sounds like and excellent place to start!
Mille Grazie! Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Penny Ladnier
Sent: Tuesday, October 14, 2003 2:28 AM
To: Historical Costume
Subject: Re: [h-cost] Pattern size and designs (long!)

Brenda,

Wonderfully stated!  Thank you!

BTW, I have two of those Simplicity books for teens... a required
purchase
for my first Home Ec. classes.

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


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From h-costume-bounces@indra.com  Tue Oct 14 12:47:21 2003
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Subject: Re: [h-cost] You have the ear of Simplicity
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OH! The official sizing chart would be great! The one they have now is so
old and out of date. Maybe you can just make them think you are updating
that one instead? :)

Chiara

> You folks have overwhelmed me in the past couple of days.  What a lot of
> thoughtful suggestions.  I wish I had time to respond to every one right
> now, but I'm trying to meet a deadline and I have to stick to the
> cutting table.
>
> I called my friend Betsy at Simplicity this morning.  I'm not sure of
> her exact title, but she's the in-house designer and head of the craft
> department.  She rides herd on all the free-lancers, too. I told her
> about all the interesting input on h-costume and she wants to read the
> transcript. Since she isn't a computer person, I'll have to sacrifice a
> few trees to print it all out.
>
> Betsy and Abbie are the two people you should talk to about policy
> change if you can possibly get to Thursday's chat. Requests will be more
> effective if directly from you all and not filtered through me.
>
> The most wonderful person to deal with if you're looking for an out of
> print pattern or a fabric you'd like to source - or just about anything
> - is Sue Fleck.  She's out in the Michigan office and I've never met her
> in person, but she's great by e-mail. And please let her know if any of
> the sewing directions are vague, confusing, or just plain wrong.
> Hopefully it can be corrected in the next printing and her staff will be
> able to help people who call in.
>
> Sue Fleck,
> Consumer Relations Manager (Simplicity, New Look, Conso, Wrights)
> Susan Fleck [SFleck@Simplicity.com]
> Toll free line 888-588-2700
>
> By the way, Betsy tells me they keep the patterns that have been pulled
> from the catalogue out in Michigan and, as long as the supply holds out,
> they'll gladly sell them.  They don't have the ability to print on
> demand at this time, so they have to crank up the huge presses to print
> a new run of patterns.  This, of course, they can't do unless they plan
> to reissue the tissue.
>
> The sizing is always a fuss.  I have a complete "official" size chart,
> not just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
> photographed and they grade up and down from my size ten pattern. I
> think if people knew what exact measurements the pattern was meant to
> fit, they'd have a better idea of how to alter it. I've mentioned this
> several times to them and gotten no interest. Does anybody
> agree/disagree with me?  I think they could print a huge chart in the
> catalogue, or that little magazine they sell in the spring so people
> could take it home with them. Would that help? You know there's no hope
> of coming up with a highly shaped period bodice that doesn't have to be
> fit in muslin to the actual person.
>
> Whew!  And I said I had to stick to the cutting table.
>
> Martha
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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From h-costume-bounces@indra.com  Tue Oct 14 12:52:51 2003
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Subject: Re: [h-cost] You have the ear of Simplicity
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I would definitely prefer to have a table of all the measurements! I'd buy it as a separate publication or in the magazine. Having those measurements would definitely caude me to buy mopre patterns and make them up because I'd be able to figure out what I needed to do to make them fit me.

Christine in Dayton >^..^<

-----Original Message-----
From: Martha Kelly <marthakelly@nyc.rr.com>
Sent: Oct 14, 2003 11:58 AM
To: h-costume <h-costume@net.indra.com>
Subject: [h-cost] You have the ear of Simplicity

<lots of neat stuff politely clipped>

The sizing is always a fuss.  I have a complete "official" size chart, not
just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
photographed and they grade up and down from my size ten pattern. I think if
people knew what exact measurements the pattern was meant to fit, they'd
have a better idea of how to alter it. I've mentioned this several times to
them and gotten no interest. Does anybody agree/disagree with me?  I think
they could print a huge chart in the catalogue, or that little magazine they
sell in the spring so people could take it home with them. Would that help?
You know there's no hope of coming up with a highly shaped period bodice
that doesn't have to be fit in muslin to the actual person.

Whew!  And I said I had to stick to the cutting table.

Martha



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Date: Tue, 14 Oct 2003 09:58:09 -0700
From: Fran Grimble <fran@lavoltapress.com>
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>The pity is that this *is* marketed toward teens but most new sewers, 
>especially those getting into historical costuming, are often at the 
>same level. But they wouldn't be caught dead or wouldn't think of 
>getting a book marketed for teens.
>
><snip>
>
>It sure would be wonderful if we could get a commercial quality 
>product of this sort geared to the historical costumer. It would sure 
>make their lives easier. (And ours, since we could spend more time 
>teaching the upper level sewers and not quite so many of the new-to-
>sewing people.) But this type would have to come out of the 
>historical community because of it's "limited audience."
>
We have published such a book--_After a Fashion:  How to Reproduce, 
Restore, and Wear Vintage Styles._    It is multiera. It was first 
published in 1993 (it's now in its second edition) and it's still our 
best-selling book.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From h-costume-bounces@indra.com  Tue Oct 14 13:00:31 2003
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From: Christine Krebs-Bonder <ckbonder@earthlink.net>
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Subject: Re: [h-cost] You have the ear of Simplicity
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I would definitely prefer to have a table of all the measurements! I'd buy it as a separate publication or in the magazine. Having those measurements would definitely caude me to buy mopre patterns and make them up because I'd be able to figure out what I needed to do to make them fit me.

Christine in Dayton >^..^<

-----Original Message-----
From: Martha Kelly <marthakelly@nyc.rr.com>
Sent: Oct 14, 2003 11:58 AM
To: h-costume <h-costume@net.indra.com>
Subject: [h-cost] You have the ear of Simplicity

<lots of neat stuff politely clipped>

The sizing is always a fuss.  I have a complete "official" size chart, not
just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
photographed and they grade up and down from my size ten pattern. I think if
people knew what exact measurements the pattern was meant to fit, they'd
have a better idea of how to alter it. I've mentioned this several times to
them and gotten no interest. Does anybody agree/disagree with me?  I think
they could print a huge chart in the catalogue, or that little magazine they
sell in the spring so people could take it home with them. Would that help?
You know there's no hope of coming up with a highly shaped period bodice
that doesn't have to be fit in muslin to the actual person.

Whew!  And I said I had to stick to the cutting table.

Martha



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From h-costume-bounces@indra.com  Tue Oct 14 13:03:54 2003
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Subject: Re: [h-cost] pattern wish list
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I'd like to see something to fill in the post-Titanic-but-pre-Flapper 
void.  Maybe a nice walking suit or two.  There's practically nothing 
out there for this time period, other than the Attic Copies line from 
Past Patterns, which require alteration if you're not the magic single 
size.

--jen, who's waiting impatiently for her order from Past Patterns to 
arrive

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Subject: Re: [h-cost] Costume pattern wish list- Danish patterns
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His email address is fsbks@mcn.org.

Fran

Judy Mitchell wrote:

> Fran Grimble wrote:
>
>> Thanks to you and Robin.
>>
>> I bugged Fred Struthers (Books on Cloth) to look into the Danish 
>> patterns. He orders a lot of foreign publications and usually manages 
>> to overcome inguistic and payment problems.   I don't know if I'd 
>> want them or not; but Fred is potentially interested in selling them 
>> anyway.
>
>
>
>     oo! if he can get them, I'd be interested in buying them. I've 
> lost his contact info,though.
>     -Judy Mitchell
>
------------------------------------------

Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: Re:  [h-cost] You have the ear of Simplicity
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Tue, 14 Oct 2003 11:58:05 -0400, Martha Kelly wrote:

>I called my friend Betsy at Simplicity this morning.  I'm not sure of her 
>exact title, but she's the in-house designer and head of the craft 
>department.  She rides herd on all the free-lancers, too. I told her about 
>all the interesting input on h-costume and she wants to read the transcript.

Sounds great!

>Since she isn't a computer person, I'll have to sacrifice a few trees to 
>print it all out.

A few trees, versus all the printed and re-altered and trashed patterns... 
You'll probably be *saving* a few trees by doing this!

>Betsy and Abbie are the two people you should talk to about policy change 
>if you can possibly get to Thursday's chat. Requests will be more 
>effective if directly from you all and not filtered through me.

Are there also ways of contacting them directly for those who cannot get to 
the chat?

>By the way, Betsy tells me they keep the patterns that have been pulled 
>from the catalogue out in Michigan and, as long as the supply holds out, 
>they'll gladly sell them.

Wow. This sounds great for the SCA-garb-ers who've been looking for numbers 
like 9633 and 9650 (Big Men's Tudor and Elizabethan). Which reminds me, I'd 
like to see more of the men's patterns in general sizing up at least 
through a size 60 and/or 6X (standard range of men's "Big & Tall" stores). 
I know enough men who need larger sizes than that, mind you, but at least 
we'd have covered the equivalent of "plus size" for the men...

It also sounds interesting in terms of the retrospective-archive, depending 
on how long they keep these patterns out in Michigan. (I have some 
Simplicity, Butterick, Vogue, and Advance patterns from the 1950's... and I 
think a Simplicity embroidery transfer with a copyright date of 1941...)

>The sizing is always a fuss.  I have a complete "official" size chart, not 
>just bust, waist, hips.  I make a (Simplicity) size ten outfit to be 
>photographed and they grade up and down from my size ten pattern. I think 
>if people knew what exact measurements the pattern was meant to fit, 
>they'd have a better idea of how to alter it. I've mentioned this several 
>times to them and gotten no interest. Does anybody agree/disagree with me?

That sounds great for the sewer who can do alterations.

>I think they could print a huge chart in the catalogue, or that little 
>magazine they sell in the spring so people could take it home with them. 
>Would that help?

Even sell it as a separate poster or laminated cheat-sheet (11" x 14" or 
larger might be good) to keep by your cutting table and hang up with your mats.


Brenda
webwarren@earthlink.net


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I wrote:
> >It sure would be wonderful if we could get a commercial quality
> >product of this sort geared to the historical costumer. It would sure
> > make their lives easier. (And ours, since we could spend more time
> >teaching the upper level sewers and not quite so many of the new-to-
> >sewing people.) But this type would have to come out of the
> >historical community because of it's "limited audience."
Fran wrote:
> We have published such a book--_After a Fashion:  How to Reproduce,
> Restore, and Wear Vintage Styles._    It is multiera. It was first
> published in 1993 (it's now in its second edition) and it's still our
> best-selling book.

I've always thought that was a book for advanced sewers, not for 
someone who is doing general historic costuming but has never sewn in 
their lives. Is it geared to also work for the absolute beginner like 
the Simplicity book for teens?

Kat
<kat@redtrollforge.com>


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Martha:

I love your patterns too, and I've bought several even though I've never
made any. I have more time to think about sewing than I have to sew! I got
to be in a pattern focus group a couple of months ago, and I was glad to
find that everyone else there did the same thing. (By the way, it turned out
to be for Simplicity patterns, and everyone mentioned that they liked the
Simplicity costume selection best).

I, too, thought the medieval gown model was too thin. If she was a size 10,
she looked like she was about a size 4. She looked so thin and tall, I
wondered how the real thing would look. I bought the pattern but I never
made it, because I reenact (in the loose sense of the word) that period and
I know how to make that kind of dress using a lot less fabric. I would never
have bought that much fabric for a costume. But I loved the look of it and I
had a vague idea about checking my self-drafted patterns against yours to
see if a professional pattern might fit better.

I wear a size 10, so I like seeing that size. :-) I like seeing photos of
garments because drawings often make the garments look better than they
really are -- more fitted, or more full-skirted, etc.

Again, I think your patterns are great. I wish I could make all of them!

Gail Finke


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Oh, I just remembered something to pass on! At the sewing focus group I
attended, one of the women said she did costumes for high school plays and
she had done one set in the American Civil War period (I don't remember
what) two times. She said the first time they had special ordered
historically accurate patterns -- not realizing how many pieces they would
have! "I'm never doing that again," she said. The next time she went with a
more costumy pattern. The point is that as interested as we all are in
historic stuff, not everyone else is! She loved having patterns available in
a range of sizes, similar to the patterns she and her sewers were already
used to using, that were readily available.

Gail Finke

 

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Fran wrote:

>>We have published such a book--_After a Fashion:  How to Reproduce,
>>Restore, and Wear Vintage Styles._    It is multiera. It was first
>>published in 1993 (it's now in its second edition) and it's still our
>>best-selling book.
>>    
>>
>
>I've always thought that was a book for advanced sewers, not for 
>someone who is doing general historic costuming but has never sewn in 
>their lives. Is it geared to also work for the absolute beginner like 
>the Simplicity book for teens?
>
>  
>
I haven't seen the Simplicity book for teens, so can make no comparisons.

I would characterize _After a Fashion_ as for a beginning to 
intermediate readership.  Although, over the years I've heard many 
people define themselves as beginning, intermediate, or advanced sewers 
or costumers. There seems to be no real standardization as to what 
skills they have or don't have before putting themselves in a category.

It is not a book about quickie Halloween costuming from thrift store 
purchases, which is what an "easy costuming book" can easily become. 

As a very broad generalization, sewing historical costumes inherently 
tends to be more difficult than sewing modern clothing. I know there are 
exceptions, but historical styles tend to be more complicated. If you 
only want to sew modern clothes (and assuming you are female), you can 
start with a little sleeveless minidress from a modern pattern company.  
Your modern wardrobe probably already contains all the underclothes, 
coats, accessories, etc. you need to wear with it; so when you've 
finished the dress you can wear it immediately.  If, on the other hand, 
you want to make an Elizabethan outfit, you'll need to make (or somehow 
obtain) several garments, all more complicated than the minidress.  
Maybe you should have taught yourself to sew on the minidress years ago, 
but this is now and what you need is an Elizabethan outfit.  Most people 
who want to make historic clothing just seem to dive in anyway and learn 
whatever they need as they go.  I think that has gotten a lot of people 
learning to sew who would not have learned otherwise.

The other thing is--modern historical patterns tend not to be as 
accurately sized or drafted as fashion patterns from the big companies. 
Again, this is a very broad generalization, since the companies vary a 
lot.  The patterns are often still very useful, but the sewer has to do 
more fitting.

Anyway, that is the situation _After a Fashion_ addresses.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Subject: Re: [h-cost] Who's the Real Designer
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>The real artists are those who work backstage in the sewing rooms. All the
>nameless embroiderers, all the nameless fantastic drapers and all the
>fantastic couturiers.
>As often, it also is those who gets badly payed.
>I hate that system, it is so injustice, hate it hate it hate it!!!

If you hate it, don't let it be your money that supports them - don't buy 
their stuff.  I feel pretty much the same way about sports superstars' 
salaries, so I make sure none of my money goes to support them.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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

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Date: Tue, 14 Oct 2003 11:22:11 -0700
Subject: Re: [h-cost] You have the ear of Simplicity
From: Lynn Downward <LDownward@chori.org>
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Yes, I don't buy the magazine, but I would buy one every couple of years (or
when it changed) so I could have the measurements at the sewing table!

LynnD


On 10/14/03 9:50 AM, "Christine Krebs-Bonder" <ckbonder@earthlink.net>
wrote:

> I would definitely prefer to have a table of all the measurements! I'd buy it
> as a separate publication or in the magazine. Having those measurements would
> definitely caude me to buy mopre patterns and make them up because I'd be able
> to figure out what I needed to do to make them fit me.
> 
> Christine in Dayton >^..^<
> 
> -----Original Message-----
> From: Martha Kelly <marthakelly@nyc.rr.com>
> Sent: Oct 14, 2003 11:58 AM
> To: h-costume <h-costume@net.indra.com>
> Subject: [h-cost] You have the ear of Simplicity
> 
> <lots of neat stuff politely clipped>
> 
> The sizing is always a fuss.  I have a complete "official" size chart, not
> just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
> photographed and they grade up and down from my size ten pattern. I think if
> people knew what exact measurements the pattern was meant to fit, they'd
> have a better idea of how to alter it. I've mentioned this several times to
> them and gotten no interest. Does anybody agree/disagree with me?  I think
> they could print a huge chart in the catalogue, or that little magazine they
> sell in the spring so people could take it home with them. Would that help?
> You know there's no hope of coming up with a highly shaped period bodice
> that doesn't have to be fit in muslin to the actual person.
> 
> Whew!  And I said I had to stick to the cutting table.
> 
> Martha
> 
> 
> 
> _______________________________________________
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> 
> 
> 
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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] pattern wish list
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I would like to see a series of patterns from various time periods, for 
men and women, in formal/upper class and informal/lower class 
variations. Such a series would make a wonderful basic costume pattern 
library not just for historic and re-enactment folks, but for small 
theatre, costume shops and schools to use.

I'm willing to accept modern shoulder seams and looser fit and skirts 
with zippers if the general lines and look are correct, and it doesn't 
diverge too much into fantasy styling.

Right now there is a rag-bag of patterns from history, mostly for women, 
   and a fair number of decades are not represented at all, or are but 
only in one social class, or only as an evening gown.



Dawn




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From h-costume-bounces@indra.com  Tue Oct 14 14:37:13 2003
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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Pattern size and designs (long!)
Date: Tue, 14 Oct 2003 14:30:34 -0400
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There *is* a great book out that covers how to get patterns altered to fit,
and goes over how the body changes as we get older, and how to compensate,
for the average sewer. It is not by Simplicity, however.  It is Fit for Real
People, by Pati Palmer and Marta Alto.  I had never really learned to tailor
patterns and had problems sewing from the big three as I am a D-cup and all
the patterns are made for a B.  That meant I usuallly made clothes that were
too big in the shoulders to compensate for the needed bust room. It was
frustrating to not be able to make the stuff I wanted and have it fit me.
After reading this book, and getting one of the few sloper patterns out
there (unfortunately the book uses the McCall's sloper which is mail order
only, not available in stores, but Butterick still has one in their catalog
and it worked just fine), I was able to do all the needed alterations to get
a pattern to fit my larger, lower bust, etc, and am very pleased.  I was
disappointed that I could not get a sloper from Simplicity- they seem to
have discontinued theirs.  While this book is geared towards modern
clothing, they also cover moving and drafting out darts, so once a sewer
masters this information, the world opens up.  I highly recommend it, and if
Simplicity has a book similar to this, well, great.

Note:  It was an eye-opener to me to read that large busted women should use
their high bust measurement instead of actual bust measurement to pick their
size.  I don't recall seeing that tidbit of info in the catalog sizing info
anywhere, and that alone could have saved me many poorly fitted garments
over the years.
Loving this conversation... and also Martha's patterns...<g>
-Megan

Kat had written:
<snip>

The pity is that this *is* marketed toward teens but most new sewers,
especially those getting into historical costuming, are often at the
same level. But they wouldn't be caught dead or wouldn't think of
getting a book marketed for teens.

I actually started working on a manual of this sort for reenactors
(which was going to be accompanied by a video) but I found that I
just don't have the kind of time it takes to do that level of
project. (And then the people who had offered to help me with it had
been cutting me out of the loop, and then *they* dropped it.)

It sure would be wonderful if we could get a commercial quality
product of this sort geared to the historical costumer. It would sure
make their lives easier. (And ours, since we could spend more time
teaching the upper level sewers and not quite so many of the new-to-
sewing people.) But this type would have to come out of the
historical community because of it's "limited audience."

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From h-costume-bounces@indra.com  Tue Oct 14 15:18:34 2003
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Date: Tue, 14 Oct 2003 12:09:24 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Who's the Real Designer
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At 03:16 AM 10/14/2003 -0400, you wrote:
>So with this presented... who do you think are the real designers of
>clothing lines.  Open topic... I am interested in what others think.


Personally, I think the seamstresses who decipher and create the garments 
themselves. My hardest work is doing just that. I can sketch simple 
designs, that is the easy part. The harder part is figuring out how to make 
the image into reality. How the fabric should be cut, how the fabric should 
hang, how to make the neck stand up or get the flat chested look on a busty 
woman, etc.

What I don't appreciate are those designers who lend their Famous Name to a 
garment line, and yet seem to have no actual input into that line. Really, 
what is the difference in say a Gap t-shirt, to a P-Diddy t-shirt, to a 
basic t-shirt? To me, they all look like a t-shirt, just some cost more 
because they have that tag with a famous name on it. Doesn't make sense to 
me, and I won't buy it because of that name. I just am going to hate the 
day when my son wants the latest fad fashion garment because of a name. I 
will end up sounding just like my Dad, who hated the same, but for him it 
was the cost factor more than anything.

anyway, my two pesos.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Tue Oct 14 15:18:49 2003
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Pattern size and designs (long!)
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At 02:46 AM 10/14/2003 -0400, you wrote:
>        --The fantasy market sometimes has a degree of overlap with the 
> Hallowe'en market. In addition to Trick-or-Treaters and Hallowe'en 
> parties, this includes parts of the Renfaire market and -- perhaps to an 
> even larger degree -- the LARP (Live Action Role-Playing) market. Some of 
> these folk may worry about visible closures such as zippers versus laces, 
> others may not (I'm not familiar with the market).


Hi Brenda,

I so agree with your post almost in toto. I just wanted to add to your 
comment about LARPers.

The LARPers, as I was once, are pretty much in the fantasy market. If it 
looks like the something of the character they are trying to portray, or 
even similar to something they have in their mind, then whatever can make 
that look is all they care about. I was one of the few actual costumers in 
the Camarilla in this state who is a costumer first, and has a background 
in historical costumes. I rarely saw at our international Conclaves any 
real historical costumes, except for a Geisha dressed Kitsune (fox 
character), a few in Victorian styles, an Egyptian Pharaoh and his 
entourage, and a few others. Some in the Changeling group dressed in their 
best SCA or Ren-Faire garb, if they had them already. Most LARPers I knew 
just put together whatever they can scrounge at their local thrift stores, 
add in a few Halloween props, make up some mask or makeup and off they go. 
Some would go for the best suits or evening gowns they could afford, some 
would make up things from cardboard, metal and duct tape, and a few went 
almost naked, depending on venue.

Anyway, that's about it on LARPers from my experience. I guess I just 
wanted to say that most I knew did not sew any of their costumes if they 
could help it, and I was saddened by that.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: Re: [h-cost] PATTERN STORAGE
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> I generally use comic book boxes. Just the right size for most 
> patterns (although the really big ones I have to put in sizeways) and 
> they are definitely acid free (so that my patterns and the like last 
> longer.)


Some comic shops also carry the same type of box in "magazine" size, and 
Folkwear-sized patterns fit perfectly in them.

Leah
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> > We think they were too difficult (and took too much fabric) for
"costumes"
> > and were not authentic enough for reenactment.  Do you have any other
> > insight as to why they failed?
> >
> > Martha

I didn't buy them because I usually make my own for early period stuff. As
you say, they were not authentic enough for reenactment.
I knew they probably didn't follow period cutting methods, which meant:
1- Less authentic, which is important for me.
2- Much more fabric loss (important when sewing with 100% linen :-)

I had included them in a list of pattern suggestions for a "medieval"
wedding (the bride and groom showed up in late 17thC - early 18thC, but I
think I'm the only one in my family who know enough about history of
costumes to notice). No one chose to make your patterns. They all chose
later period ones. I think that it's simply that people find the Renaissance
styles more attractive. It's a shame they stopped making them, because now I
think we're left with no acceptable early period pattern in the big 4.
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Subject: [h-cost] 
	Teaching the beginner, was: Re: Pattern size and designs (long!)
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> As a very broad generalization, sewing historical costumes inherently
> tends to be more difficult than sewing modern clothing. I know there
> are exceptions, but historical styles tend to be more complicated. If
> you only want to sew modern clothes (and assuming you are female), you
> can start with a little sleeveless minidress from a modern pattern
> company.  Your modern wardrobe probably already contains all the
> underclothes, coats, accessories, etc. you need to wear with it; so
> when you've finished the dress you can wear it immediately. 

That's probably true, but there are simpler garments, even for 
Elizabethans. I generally start (if I can get them even to this 
point) with a fairly simple Spanish surcoat [The coatlike gown] or an 
A-line dress which would possibly go under a surcoat. The hardest 
part about those outfits is sleeves.)

But for those who aren't even to that point, I either loan them 
something (and I've collected a few outfits which are either good for 
many sizes or I have many sizes in the closet) or (if they don't need 
that specific time period) help them make something like a simple T-
tunic.

But for the real beginners I usually start them with a pouch. I 
remember in Home Ec Sewing we usually started with a gym bag. Same 
kind of thing: mostly straight plain seams. Then something that needs 
to have some consideration to fit, like a simple apron. Then I go on 
to the T-tunic or Spanish surcoat/A-line dress. It isn't until they 
have at least that level done that I even attempt things like bodices 
and skirts (just like in class we didn't start the jumper or skirt 
until we'd started with the easier things just to get the hang of 
using a sewing machine.)

> I think that has gotten a lot of people learning to sew who would not
> have learned otherwise.

While that is very true, I suspect that it still takes what I call an 
intermediate sewer to do that. The person who has never touched any 
sewing can't really do that as easily. They just get frustrated and 
give up.

> The other thing is--modern historical patterns tend not to be as
> accurately sized or drafted as fashion patterns from the big
> companies. Again, this is a very broad generalization, since the
> companies vary a lot.  The patterns are often still very useful, but
> the sewer has to do more fitting.

I think part of that is that the modern patterns in general don't 
have as close fitting a garment than historical garments tend to be. 
If you look at most of the patterns, they have loads of ease (which 
allows for a lot of mis-altering or mis-measuring not to show as 
much.)

> Anyway, that is the situation _After a Fashion_ addresses.

I thought I had that book, but I can't find it. It should be with the 
other books I have of yours (because I like your publications. I 
generally don't get stuff in the "Vintage" eras because those aren't 
the times I really enjoy. But I usually try to get yours.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re. willowy models
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> > May I seek your insight?
> >
> > A couple of you mentioned that the very slender model might be
off-putting.
> > This is something we discuss all the time in the costume/craft
department.
> > We get mail asking for larger sizes and designs suitable for larger
women.
> > When we make them, they don’t sell well enough to stay in the book.

I'm sorry I can't help you with that one. The smallest pattern sizes are
barely small enough for me. I'm a size 8 chest, short-waisted, and a size 12
hips. (I mean pattern sizes, not clothing sizes)

One thing to consider, though, is that larger women might like to have
clothing in their sizes that looks like clothing made for smaller women. I
love looking at pattern catalogs, but I always skip the larger sized
patterns because I don't like the designs. I know very well that some
designs are less flattering on certain body types, but larger sized patterns
always look the same to me.
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Subject: [h-cost] Simplicity
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After reading what Martha has in store for Simplicity,
I'm eagerly awaiting whatever she's making.  I second
the motion for more menswear.  

My problem with the rest of Simplicity is that
everything else is, frankly, boring.  They may show a
few variations on the theme of one design, but all of
the designs are either the same two darts or princess
line.  Worse yet, those slopers are used in some of
the Historical series (I noticed, not the ones with
Martha's imprint)

The only patterns I see in the Big 3 with any
originality or sewing challenge are the Vogue Designer
series, and even then, only the Miyakes.  

This is why I'm attracted to historical sewing - as a
challenge and some interesting cutting;  and also to
spark my own design creativity.


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> Also, the MoL does not allow general photography (or sketches, but that
> didn't stop Wayne taking a few notes that were a little sketchlike).

That's odd...I was just there in August, snapped away like a madwoman with
my digital camera, and no one even gave me a raised eyebrow!

Pam Dotson
Everett, WA  USA


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Subject: [h-cost] movie generated demand
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I think the new Alamo movie will be out in December.
That will probably generate some demand for period
costume patterns.

=====
Aurum peccamenes multifariam texit

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From: PallasAMK@aol.com
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Subject: [h-cost] More on the Whole Big 3 Pattern Thing
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I'm always sort of stunned when people expect "ready made" patterns to fit.   How could they?  Just a perfunctory glance at our various descriptions of ourselves ("large busted, high points"; "pear shaped"; "short-waisted", "size 20 but hourglass"; "slim but long waisted"; and I'll add my own "tall/slim with simian arms and linebacker shoulders" into the mix) shows how impossible it would be to come up with one single sloper to address all of these fit issues.  
So maybe what is needed is the pattern companies stepping up and providing more fitting information than "lengthen or shorten here."  For myself personally, I could sure use a mark or two on the best point to broaden shoulders; and it seems that a number of people could benefit from raising or lowering the bust curve without wrecking the line of the pattern.  Like most people on this list I have learned to draft over the years, and I could figure it out myself, but it would sure save me some time if I didn't have to.  Or heck, if the pattern tends to run long-waisted, say so on the envelope.  No harm no foul.  But it means that if I decide I want to work with that particular pattern, I know that going in that I'll have to shorten the waist, and can make the adjustments early on, before I hack into the silk charmeuse.  Or, heaven forfend, a little paragraph printed on some of that excess pattern tissue about how to re-curve for a lower hipline. 
But back to my original thought--I certainly don't expect to walk into a store and be able to wear every piece of clothing on the rack.  As someone said (Penny, was it?)  different lines use different fit models, which will naturally suit some bodies and not others. Why would a pattern be any different?  I guess because I've always been difficult to fit, I've never expected that I could cut out a pattern from any company, stitch it up and be done  without some level of fitting gyrations on my part.   It is a testament perhaps to the skill of the marketing/advertising departments of these companies that we believe a 12 is a 12 is a 12 in patterns, when we all know that in RTW a 10 could be a 12 could be an 8.  Only in menswear are sizes true--a topic that has been batted round here a couple of times already.
I've never found willowy models to be a problem with patterns, historical or otherwise, since they are really nothing but living coathangers.  Actually, they make it a little easier to see where the seams are on patterns, and at least for historical garments, let you see what you 've got to change to get a better, more accurate line.  And they're just "symbolic" people, anyway; their job, for which they are ideally proportioned, is to assure (as someone noted),  that the garment is the most important thing in the picture, or on the runway.   
Short of drafting your own patterns for everything, as Kendra does, the only thing to be done is to take the time to measure and revise the existing patterns, until you get it right for you.   But to expect to be able to buy an off-the-rack pattern and have it fit?  Impossible, and not very realistic.
Pallas
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From: Lee Thompson-Herbert <lee@retro.com>
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iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com> wrote>:
> 
>  Cheap pattern storage. If you have access to boxes of
> paper for copy machines, they make great pattern
> storage boxes. They're fairly sturdy and don't
> collapse if you stack one on the other.  I'm sure
> someone out there has more patterns than I do and I'm
> up to 2 boxes.

I've started using plastic storage crates.  My cats can't shred them
and nothing gets ruined if there's a little bit of flooding (we had
plumbing problems a while back).  I'm now on my second large plastic
crate of patterns (though Past Patterns and Folkwear take up more room
than the Big Three standard pattern envelope).

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Subject: Re: [h-cost] You have the ear of Simplicity
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Martha Kelly wrote:

>The sizing is always a fuss.  I have a complete "official" size chart, not
>just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
>photographed and they grade up and down from my size ten pattern. I think if
>people knew what exact measurements the pattern was meant to fit, they'd
>have a better idea of how to alter it. I've mentioned this several times to
>them and gotten no interest. Does anybody agree/disagree with me?
>

I completly agree with the idea of a complete size chart. That would be 
fantastic! I measure the pattern tissue for several additional numbers 
before I sit down to alter it.
I'm curious (for the next time you want a break from your table), what 
measurments are on that 'official' size chart past the usual ones given 
on the pattern envelope?
Would in include such things as arm diameter? How about a measurement 
for where the elbow falls on the arm (my lower arm is extra long)? Neck 
diameter, um.... I'm sure there's more.
I think I've seen wearing and design ease given on some small pattern 
company.... la Fred? I'm not sure.

liz young


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PallasAMK@aol.com wrote:

>I'm always sort of stunned when people expect "ready made" patterns to fit.   How could they?  Just a perfunctory glance at our various descriptions of ourselves ("large busted, high points"; "pear shaped"; "short-waisted", "size 20 but hourglass"; "slim but long waisted"; and I'll add my own "tall/slim with simian arms and linebacker shoulders" into the mix) shows how impossible it would be to come up with one single sloper to address all of these fit issues.  
>
many good points snipped

>  But to expect to be able to buy an off-the-rack pattern and have it fit?  Impossible, and not very realistic.
>  
>
I have never expected to buy a pattern and have it fit right out of the 
envelope. I do know that adjustments are almost always necessary.
However, as I stated in an earlier post, when I was a more standard size 
(12/14) I only had to lengthen pattern pieces, I did not have to futz 
with the relative proportions of the pieces.
Um.... let's try that again.
I expect that, carrying 40 extra pounds as I am, that the excess is 
distributed unevenly. Also, all the other women in the world who are my 
height and bone structure are not going to end with their extra 40 
pounds distributed the same way. However! The apparent distortions of 
fit present in the upper end of the pattern size range bug me.
I seem to need to make many many more adjustments to what should be a 
correctly sized pattern (based on the measurements on the envelope) than 
I should.

that's what I, at any rate, meant to say

liz young


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Subject: Re: [h-cost] Costume pattern wish list- Danish patterns
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Fran Grimble wrote:
> His email address is fsbks@mcn.org.


	thanks, Fran. I've dropped him a note. And gee, Bjarne says 
the Lund museum also has some patterns!
	-Judy Mitchell

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Subject: Re: [h-cost] re. pattern wish list
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> If you want to catch the ear of the two ladies who choose which patterns
are
> developed at Simplicity, come to the live chat this Thursday at 1:00 PM
> Eastern time.
<snip>
> I was the guest for a couple of sessions, but not many people showed up.
It
> 's a bad time of day, isn't it?

It often feels like they assume people who sew also stay home all day :-) I
don't! Sorry I won't be there, I have a class...

> Thank you everybody who wrote in such helpful suggestions today.
Sometimes
> I feel like I'm working in a vacuum, so this was great. I have another
> question or two to pose, but I think I've had my time in the sun for now.

Don't worry! We love talking with people such as you! Go ahead and ask!
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From: "Martha Kelly" <marthakelly@nyc.rr.com>
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Since it seems that I'm going into Simplicity with a huge meal for them to
chew on, may I add one final (I promise) course?

I think it's extremely important for our reenactors, maybe the men even more
than the women, to trust the provenance of historic patterns. I do a great
deal of research in museums, private collections, with original patterns,
etc. All of which I would be delighted to share. I really think people
deserve to know where I got the information.

Where do you think Simplicity should offer this information - even a bit is
better than none - so that it would be accessible to people who are
interested? We can't get any more information into the envelope.  My
patterns and their instructions always cram every last inch.  We usually
have to leave out the alternate sleeve or the Plan B collar treatment or
something due to space. Where might people read this sort of thing?

This is a new concept for them because they've never done seriously historic
patterns before. Not many people have asked for the derivation of a witch, a
clown or a sexy French maid.

Martha



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Subject: Re: [h-cost] More on the Whole Big 3 Pattern Thing
From: "Chiara" <chiara@io.com>
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Vogue has a really great sloper that does just that. You need to be ready
for an education on how to read thier patterns but they at least have it
all there for you to read.

I love mine. Grant it it is old so you may have to ask the manager to
order it for you as most clerks would not know if it is still orderable.
Not a slight on clerks but it is the manager's job to know what specialty
patterns they can order that are not in the books.

If it is in the books it would be on the last page or the sizing page.

Chiara

> I'm always sort of stunned when people expect "ready made" patterns to
> fit.   How could they?  Just a perfunctory glance at our various
> descriptions of ourselves ("large busted, high points"; "pear shaped";
> "short-waisted", "size 20 but hourglass"; "slim but long waisted"; and
> I'll add my own "tall/slim with simian arms and linebacker shoulders"
> into the mix) shows how impossible it would be to come up with one
> single sloper to address all of these fit issues.   So maybe what is
> needed is the pattern companies stepping up and providing more fitting
> information than "lengthen or shorten here."  For myself personally, I
> could sure use a mark or two on the best point to broaden shoulders; and
> it seems that a number of people could benefit from raising or lowering
> the bust curve without wrecking the line of the pattern.  Like most
> people on this list I have learned to draft over the years, and I could
> figure it out myself, but it would sure save me some time if I didn't
> have to.  Or heck, if the pattern tends to run long-waisted, say so on
> the envelope.  No harm no foul.  But it means that if I decide I want to
> work with that particular pattern, I know that going in that I'll have
> to shorten the waist, and can make the adjustments early on, before I
> hack into the silk charmeuse.  Or, heaven forfend, a little paragraph
> printed on some of that excess pattern tissue about how to re-curve for
> a lower hipline.  But back to my original thought--I certainly don't
> expect to walk into a store and be able to wear every piece of clothing
> on the rack.  As someone said (Penny, was it?)  different lines use
> different fit models, which will naturally suit some bodies and not
> others. Why would a pattern be any different?  I guess because I've
> always been difficult to fit, I've never expected that I could cut out a
> pattern from any company, stitch it up and be done  without some level
> of fitting gyrations on my part.   It is a testament perhaps to the
> skill of the marketing/advertising departments of these companies that
> we believe a 12 is a 12 is a 12 in patterns, when we all know that in
> RTW a 10 could be a 12 could be an 8.  Only in menswear are sizes
> true--a topic that has been batted round here a couple of times already.
> I've never found willowy models to be a problem with patterns,
> historical or otherwise, since they are really nothing but living
> coathangers.  Actually, they make it a little easier to see where the
> seams are on patterns, and at least for historical garments, let you see
> what you 've got to change to get a better, more accurate line.  And
> they're just "symbolic" people, anyway; their job, for which they are
> ideally proportioned, is to assure (as someone noted),  that the garment
> is the most important thing in the picture, or on the runway.    Short
> of drafting your own patterns for everything, as Kendra does, the only
> thing to be done is to take the time to measure and revise the existing
> patterns, until you get it right for you.   But to expect to be able to
> buy an off-the-rack pattern and have it fit?  Impossible, and not very
> realistic. Pallas
> _______________________________________________
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Testing....



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Subject: RE: [h-cost] Just one more question?
Date: Tue, 14 Oct 2003 17:39:54 -0500
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Put it on the web site, of course!

Kim

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Martha Kelly
Sent: Tuesday, October 14, 2003 5:18 PM
To: h-costume
Subject: [h-cost] Just one more question?

Since it seems that I'm going into Simplicity with a huge meal for them
to
chew on, may I add one final (I promise) course?

I think it's extremely important for our reenactors, maybe the men even
more
than the women, to trust the provenance of historic patterns. I do a
great
deal of research in museums, private collections, with original
patterns,
etc. All of which I would be delighted to share. I really think people
deserve to know where I got the information.

Where do you think Simplicity should offer this information - even a bit
is
better than none - so that it would be accessible to people who are
interested? We can't get any more information into the envelope.  My
patterns and their instructions always cram every last inch.  We usually
have to leave out the alternate sleeve or the Plan B collar treatment or
something due to space. Where might people read this sort of thing?

This is a new concept for them because they've never done seriously
historic
patterns before. Not many people have asked for the derivation of a
witch, a
clown or a sexy French maid.

Martha



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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Just one more question?
Date: Tue, 14 Oct 2003 18:50:48 -0400
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Martha Kelly wrote:
<<I think it's extremely important for our reenactors, maybe the men
even more than the women, to trust the provenance of historic
patterns... Where do you think Simplicity should offer this information
- even a bit is better than none - so that it would be accessible to
people who are interested?>>

Frankly, Martha, I don't think Simplicity shouldn't try to be all things
to all people.  I was thrilled that your company was making a foray into
better costumes.  But to delving into historical clothing is quite
another story.  Are you really intending on including 10 pages of
historical notes and reproductions of period artwork and sketches of
museum pieces with every pattern?  Because that's what reenactors want.
Are you going to include information on the weave and thread count of
the fabric from which the museum original was made and suggestions on
where to buy modernly-produced fabric that will pass?  Will you go into
the details of period stitches and which were used on the garments
studied and why?  This is the kind of detail we crave.  I don't think
that's something Simplicity can afford to do and still mass market their
patterns.

Saying, "Based on an original in the Metropolitan Museum" (as Folkwear
does) is one thing.  But the detail we desire is too much with which a
commercial pattern company to concern itself.  You'd be boring most of
your audience to get the attention of a few who would probably draft
their own patterns from scratch anyway.

Kass McGann

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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] PATTERN STORAGE
Date: Tue, 14 Oct 2003 18:58:07 -0400
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How about a couple of commercial pattern file drawers...five feet tall with
4 drawers each!  Full.I just emptied them of costume patterns from 20 years,
and find that the historical costume patterns now being filed in place will
still leave me with extra boxes. If you are using a basement for storage, go
"plastic", or you will be surprised at the weight the paper boxes can
hold...and 'fail' in a short time. I am finding it interesting to compare
the 'vintage' historical patterns with their second or third "go around";
they surely do exhibit the present aesthetic tweaks that Anne Hollander
suggests will always be found when styles of the past get re-cycled.
----- Original Message ----- 
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 10:08 AM
Subject: [h-cost] PATTERN STORAGE


> Cheap pattern storage. If you have access to boxes of
> paper for copy machines, they make great pattern
> storage boxes. They're fairly sturdy and don't
> collapse if you stack one on the other.  I'm sure
> someone out there has more patterns than I do and I'm
> up to 2 boxes.
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Just one more question?
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Martha Kelly wrote:

  > I think it's extremely important for our reenactors, maybe the men 
even more
> than the women, to trust the provenance of historic patterns. I do a great
> deal of research in museums, private collections, with original patterns,
> etc. All of which I would be delighted to share. I really think people
> deserve to know where I got the information.

I would be thrilled to see any references for the costumes, even if they 
were fantasy inspired.

> 
> Where do you think Simplicity should offer this information - even a bit is
> better than none - so that it would be accessible to people who are
> interested? 

I will second Lynn's suggestion of being able to write for a copy, and 
add that I would like to see downloadable PDFs on the website.



Dawn



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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] pattern wish list
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> I'd love to have more 1920s and early 1930s patterns available. Not just
the flapper dresses or evening wear but day dresses, tea gowns, tennis or
other athletic clothes, and proper period lingerie (modern bras just don't
cut it if you want the right line).

Ooh, YES! That would be great.

> I'd also love to get hold of gentlemen's patterns for the same era that
AREN'T "zoot suits." There's some outfits described in Fitzgerald's "The
Great Gatsby" that I'd like to create...

Yes, that I agree. My bf would look stunning in one of those :-) But also a
great zoot suit pattern. I can't find the Vogue one and it looks
complicated, and the other (is it McCall?) has something wrong I just can't
put my finger on, so I haven't bought it yet.
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Martha Kelly wrote:
> I think it's extremely important for our reenactors, maybe the men even more
> than the women, to trust the provenance of historic patterns. I do a great
> deal of research in museums, private collections, with original patterns,
> etc. All of which I would be delighted to share. I really think people
> deserve to know where I got the information.
> 
> Where do you think Simplicity should offer this information - even a bit is
> better than none - so that it would be accessible to people who are
> interested? We can't get any more information into the envelope.  My
> patterns and their instructions always cram every last inch.  We usually
> have to leave out the alternate sleeve or the Plan B collar treatment or
> something due to space. Where might people read this sort of thing?

Re - making historical information available, as well as omitted (due to 
lack of space) alternate design elements: do you suppose enough of us 
are computer literate to make it worthwhile dedicating a spot on the 
Simplicity website for historical documentation and/or extra patternings?

Theresa Eacker


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Subject: Re: [h-cost] Pattern size and designs (long!)
Date: Tue, 14 Oct 2003 19:10:24 -0400
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Fran, I have all of your excellent books and have found them great to work
with. While I have been viewing and picking apart pictures on my own for
years, your period approach to some of the nitty gritty styles and designs,
using your tried and true method of size translation has made my jobs as
seamstress sooo much easier.  Thanks!
Kathleen Mitchell
----- Original Message ----- 
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 2:08 PM
Subject: Re: [h-cost] Pattern size and designs (long!)


> Fran wrote:
>
> >>We have published such a book--_After a Fashion:  How to Reproduce,
> >>Restore, and Wear Vintage Styles._    It is multiera. It was first
> >>published in 1993 (it's now in its second edition) and it's still our
> >>best-selling book.
> >>
> >>
> >
> >I've always thought that was a book for advanced sewers, not for
> >someone who is doing general historic costuming but has never sewn in
> >their lives. Is it geared to also work for the absolute beginner like
> >the Simplicity book for teens?
> >
> >
> >
> I haven't seen the Simplicity book for teens, so can make no comparisons.
>
> I would characterize _After a Fashion_ as for a beginning to
> intermediate readership.  Although, over the years I've heard many
> people define themselves as beginning, intermediate, or advanced sewers
> or costumers. There seems to be no real standardization as to what
> skills they have or don't have before putting themselves in a category.
>
> It is not a book about quickie Halloween costuming from thrift store
> purchases, which is what an "easy costuming book" can easily become.
>
> As a very broad generalization, sewing historical costumes inherently
> tends to be more difficult than sewing modern clothing. I know there are
> exceptions, but historical styles tend to be more complicated. If you
> only want to sew modern clothes (and assuming you are female), you can
> start with a little sleeveless minidress from a modern pattern company.
> Your modern wardrobe probably already contains all the underclothes,
> coats, accessories, etc. you need to wear with it; so when you've
> finished the dress you can wear it immediately.  If, on the other hand,
> you want to make an Elizabethan outfit, you'll need to make (or somehow
> obtain) several garments, all more complicated than the minidress.
> Maybe you should have taught yourself to sew on the minidress years ago,
> but this is now and what you need is an Elizabethan outfit.  Most people
> who want to make historic clothing just seem to dive in anyway and learn
> whatever they need as they go.  I think that has gotten a lot of people
> learning to sew who would not have learned otherwise.
>
> The other thing is--modern historical patterns tend not to be as
> accurately sized or drafted as fashion patterns from the big companies.
> Again, this is a very broad generalization, since the companies vary a
> lot.  The patterns are often still very useful, but the sewer has to do
> more fitting.
>
> Anyway, that is the situation _After a Fashion_ addresses.
>
> Fran
>
> -----------------------------------------
> Lavolta Press Books on Historic Costuming
> http://www.lavoltapress.com
> Historic and Vintage Dance
> http://www.lavoltapress.com/dance
>
>
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Subject: Re: [h-cost] You have the ear of Simplicity
Date: Tue, 14 Oct 2003 19:10:35 -0400
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> The sizing is always a fuss.  I have a complete "official" size chart, not
> just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
> photographed and they grade up and down from my size ten pattern. I think
if
> people knew what exact measurements the pattern was meant to fit, they'd
> have a better idea of how to alter it. I've mentioned this several times
to
> them and gotten no interest. Does anybody agree/disagree with me?  I think
> they could print a huge chart in the catalogue, or that little magazine
they
> sell in the spring so people could take it home with them. Would that
help?
> You know there's no hope of coming up with a highly shaped period bodice
> that doesn't have to be fit in muslin to the actual person.

Wow, thanks! This is really nice of you. As for sizing being printed on the
pattern back, the least they could do is give us back length! I'd also
appreciate arm length, and all the others are candy. They could print them
out smaller so beginners would still know which are the important
measurements (bust-waist-hips) but experienced ones can still get the
information.

As for printing it in the magazine... uh... which magazine? I don't hang out
at the fabric store. I shop for patterns online, and when I've chosen I show
up at the store, raid the thread, pattern and sales sections, and leave. I
never saw a magazine... and since I do almost only historical clothing, I
really don't relate to the contents of most sewing magazines.
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Subject: [h-cost] Re: types of costume
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>          --The fantasy market sometimes has a degree of overlap with the
>Hallowe'en market. In addition to Trick-or-Treaters and Hallowe'en parties,
>this includes parts of the Renfaire market and -- perhaps to an even larger
>degree -- the LARP (Live Action Role-Playing) market. Some of these folk
>may worry about visible closures such as zippers versus laces, others may
>not (I'm not familiar with the market).

This includes Con Hall costumes up through Costume contest entries.  A lot 
of this is just something I won't see on the steert but it's easy to wear.
Maddalena

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Subject: Re: [h-cost] re. pattern wish list
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On Tue, 14 Oct 2003 18:15:54 -0400 "Audrey Bergeron-Morin"
<audreybmorin2@hotmail.com> writes:
> > If you want to catch the ear of the two ladies who choose which
patterns are
> > developed at Simplicity, come to the live chat this Thursday at 1:00
PM Eastern time.
> <snip>
> > I was the guest for a couple of sessions, but not many people showed
up.  It
> > 's a bad time of day, isn't it?
> 
> It often feels like they assume people who sew also stay home all day
:-) I
> don't! Sorry I won't be there, I have a class...


        Shoot, just looked at the time and it's Eastern.  I was thinking
I just might be home for it myself.  (Part time work, and then working at
home helps. But not this time. <sigh>)  That puts it at 11am my time, and
I'll still be at work!  Drat it anyhow.

Astrid
Never argue with a dragon, for thou art crunchy and go well with Brie.
    http://www.geocities.com/tul_juriss - for links to ALL my current
sites
    http://www.geocities.com/astridofthehorde - costumes I've made
    http://www.geocities.com/house_qul_mupwi - The noble Klingon House
    http://www.geocities.com/klingon_pirates_guild - The Klingon Pirate's
Guild

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Subject: Re: [h-cost] Just one more question?
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> Where do you think Simplicity should offer this information - even a bit
is
> better than none - so that it would be accessible to people who are
> interested? We can't get any more information into the envelope.  My
> patterns and their instructions always cram every last inch.  We usually
> have to leave out the alternate sleeve or the Plan B collar treatment or
> something due to space. Where might people read this sort of thing?

I'd read it online, no problem.

But if they could at least include a little box saying "15th C England,
based on a dress from This museum", it would already be a GREAT starting
point!
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Subject: Re: [h-cost] Just one more question?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Martha, this is a wonderful idea. Would it be possible to have an address in
the pattern (advertised ON the envelope) where someone interested in the
research could send to Simplicity and pay if necessary for the extras? I'd
love to have more research in my files. I have my different period patterns
filed by chronological date and have notes in the box with the patterns,
i.e., anything GBACG might say about a pattern to make it more period, or to
make it fit better, or the information where this particular dress can be
found in that painting by Leonardo, etc.

LynnD

On 10/14/03 3:18 PM, "Martha Kelly" <marthakelly@nyc.rr.com> wrote:

> Since it seems that I'm going into Simplicity with a huge meal for them to
> chew on, may I add one final (I promise) course?
> 
> I think it's extremely important for our reenactors, maybe the men even more
> than the women, to trust the provenance of historic patterns. I do a great
> deal of research in museums, private collections, with original patterns,
> etc. All of which I would be delighted to share. I really think people
> deserve to know where I got the information.
> 
> Where do you think Simplicity should offer this information - even a bit is
> better than none - so that it would be accessible to people who are
> interested? We can't get any more information into the envelope.  My
> patterns and their instructions always cram every last inch.  We usually
> have to leave out the alternate sleeve or the Plan B collar treatment or
> something due to space. Where might people read this sort of thing?
> 
> This is a new concept for them because they've never done seriously historic
> patterns before. Not many people have asked for the derivation of a witch, a
> clown or a sexy French maid.
> 
> Martha
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] Just one more question?
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Two places come to mind for me. One could be a bibliography card insert or
right on the pattern itself. There is so much empty space left on the
pattern tissue it would be the cost of typsetting to add it if that.

On the older patterns that I have that is where the instructions used to
be printed, on the tissue. (I purchase three of each kind if I can, one
ratty one that I can use, one presteen one that I can store, and one that
I can read and not worry that it will not survive and use the surviving
parts for the merging to the first pattern. That is how I found the
occasional ones with print on the tissue.)

Another thought would be to print a url of the research on a site that is
static and not going to disappear in a year. On this page could also be
information on how to order the pattern once it is gone from the book.

Chiara

> Since it seems that I'm going into Simplicity with a huge meal for them
> to chew on, may I add one final (I promise) course?
>
> I think it's extremely important for our reenactors, maybe the men even
> more than the women, to trust the provenance of historic patterns. I do
> a great deal of research in museums, private collections, with original
> patterns, etc. All of which I would be delighted to share. I really
> think people deserve to know where I got the information.
>
> Where do you think Simplicity should offer this information - even a bit
> is better than none - so that it would be accessible to people who are
> interested? We can't get any more information into the envelope.  My
> patterns and their instructions always cram every last inch.  We usually
> have to leave out the alternate sleeve or the Plan B collar treatment or
> something due to space. Where might people read this sort of thing?
>
> This is a new concept for them because they've never done seriously
> historic patterns before. Not many people have asked for the derivation
> of a witch, a clown or a sexy French maid.
>
> Martha
>
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Tue Oct 14 20:06:47 2003
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Subject: [h-cost] Just one more question?
Date: Tue, 14 Oct 2003 17:05:37 -0700
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Past Patterns (I think) a long time ago put some of their historical detail on the actual tissue paper that the pattern was on (in the skirt sections and other large empty areas). I can't say I like that location because I have the worst time keeping the historical detail tissue readable -- but when I was sewing a lot I would rather have had a printed copy of the documentation then have to go look it up on the web. (Now I have great web access though work, but no time to sew, go figure.)
	-sunny

> ------------------------------
> 
> Message: 7
> Date: Tue, 14 Oct 2003 18:18:17 -0400
> From: "Martha Kelly" <marthakelly@nyc.rr.com>
> Subject: [h-cost] Just one more question?
> To: "h-costume" <h-costume@net.indra.com>
> Message-ID: <LLEALCLGCCEBKHIGEMPOIECHCIAA.marthakelly@nyc.rr.com>
> Content-Type: text/plain;	charset="iso-8859-1"
> 
> Since it seems that I'm going into Simplicity with a huge 
> meal for them to
> chew on, may I add one final (I promise) course?
> 
> I think it's extremely important for our reenactors, maybe 
> the men even more
> than the women, to trust the provenance of historic patterns. 
> I do a great
> deal of research in museums, private collections, with 
> original patterns,
> etc. All of which I would be delighted to share. I really think people
> deserve to know where I got the information.
> 
> Where do you think Simplicity should offer this information - 
> even a bit is
> better than none - so that it would be accessible to people who are
> interested? We can't get any more information into the envelope.  My
> patterns and their instructions always cram every last inch.  
> We usually
> have to leave out the alternate sleeve or the Plan B collar 
> treatment or
> something due to space. Where might people read this sort of thing?
> 
> This is a new concept for them because they've never done 
> seriously historic
> patterns before. Not many people have asked for the 
> derivation of a witch, a
> clown or a sexy French maid.
> 
> Martha 

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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References: <329BDE32.35DDF134.02708BA2@aol.com> <3F8C730A.1020204@fenris.net>
Subject: Re: OT Re: [h-cost] More on the Whole Big 3 Pattern Thing
Date: Tue, 14 Oct 2003 18:02:10 -0700
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For some reason I didn't get Pallas' email, so I'm just responding to the
snip below -- this is an excellent point, and why I rail against
standardized sizing in BOTH ready to wear and patterns.  I don't think
there's a solution, except maybe to go back to the pre-Godey's era of
drafting and making our own patterns!  At least we as sewers have that
option, or can learn to alter clothes to fit... most people with varying
body shapes just have to wear oversized clothes.

- Kendra


> PallasAMK@aol.com wrote:
>
> >I'm always sort of stunned when people expect "ready made" patterns to
fit.   How could they?  Just a perfunctory glance at our various
descriptions of ourselves ("large busted, high points"; "pear shaped";
"short-waisted", "size 20 but hourglass"; "slim but long waisted"; and I'll
add my own "tall/slim with simian arms and linebacker shoulders" into the
mix) shows how impossible it would be to come up with one single sloper to
address all of these fit issues.

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Date: Tue, 14 Oct 2003 17:23:40 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re. willowy models
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At 04:04 PM 10/14/2003 -0400, you wrote:
>I
>love looking at pattern catalogs, but I always skip the larger sized
>patterns because I don't like the designs. I know very well that some
>designs are less flattering on certain body types, but larger sized patterns
>always look the same to me.


I very much agree with the above. I think the designs of the "larger sized" 
patterns are either a tent or a two piece tent. Sometimes I can find nice 
designs for the larger woman, or real women, like the Sandra Betzina 
styles, but most of the time there isn't much there, just basic pattern 
styles that are rather boring or sack like. That is why I often get the 
nice patterns in a smaller size and adjust up to what I need. Usually the 
regular sized nice designs go up to a 14, and I can work from that.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Date: Tue, 14 Oct 2003 17:41:51 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Just one more question?
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At 06:18 PM 10/14/2003 -0400, you wrote:
>Where do you think Simplicity should offer this information - even a bit is
>better than none - so that it would be accessible to people who are
>interested? We can't get any more information into the envelope.  My
>patterns and their instructions always cram every last inch.  We usually
>have to leave out the alternate sleeve or the Plan B collar treatment or
>something due to space. Where might people read this sort of thing?


If I may give my suggestion. Combine two areas, a web site with pdf files 
for those on the Internet, and a physical mailing address or phone number 
for those who aren't Internet inclined to get more info.

And I wanted to comment on why having this info is important to costumers, 
especially newbies. When I first started into costume making for Ren Faires 
(1987), there wasn't anything beyond Folkwear patterns for the basic bodice 
I needed (the Austrian Dirndle), and at that time, Folkwear was going out 
of business, so finding them was hard. What info I got from their patterns 
was much more than anything I learned from other costumers I was learning 
from.

Times have changed and I am more savvy to the historical aspects of 
historical garments. There is more info available now, if you look for it, 
or know where to look for it. But when people are first learning how to 
create historical garments for the Renaissance Faires or other events, 
having a pattern and some notes on where that pattern came from is a big 
boon. It is a great first step for people new to sewing or new to costume 
sewing. In time, they may want to branch out and learn more info on how to 
make their garments more historical, improving their knowledge and their 
skills. But if Simplicity were to offer some basic info on their historical 
garments, it would be a great first step for many.

Not to mention that as a selling point, more info like this may translate 
into greater sales as people turn to Simplicity for their costuming needs, 
knowing they are getting more than just a tissue pattern. Especially if a 
way could be made to add in an insert page with the historical info.

And I personally would love to know the historical info on the Victorian 
garment line you have created. My field of knowledge is 16th c, so my 
branching out into the Victorian era means learning some new things. Just 
cause I know how to make a farthingale, doesn't mean I know how to make 
those Victorian oval hoops, or even the why of their oval design.

my two pesos,

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] Just one more question?
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Kass McGann wrote:
<<Saying, "Based on an original in the Metropolitan Museum" (as Folkwear
does) is one thing.  But the detail we desire is too much with which a
commercial pattern company to concern itself.  You'd be boring most of
your audience to get the attention of a few who would probably draft
their own patterns from scratch anyway.>>


I think Kass brings up some good points, which I can agree with. However, I 
also believe that historical costumers are from a broad spectrum of needs. 
At one end are those who want the costumes to look "right enough", but 
aren't concerned with the warp and weft count of the original piece. At the 
other end of that spectrum are people, like Kass, who are very concerned 
with the fine historical details. And people who range everywhere in between.

I think I am in the middle of that spectrum. I am learning more about 
historical costumes, and have gone beyond the basics of a simple Ren 
garment. I create my own patterns from scratch, because I had to. I now 
have the skill to custom design patterns for members of my guild, but those 
ladies would prefer to continue to use tried and true commercial patterns 
they already have, even if it isn't properly period. Why? Because they have 
the patterns and they like them. And they want to work from already made 
patterns if at all possible.

My group chatted up quite a bit at a recent event about the cute Toddler's 
Renaissance pattern (#5517), because we have toddlers in our group who 
would look adorable in those outfits, including my own who I had already 
made an appropriate outfit for, from scratch. I like the pattern enough. It 
is simple, and I won't have to try and fine-measure my squirming toddler to 
make the garment. I know I will be modifying it a bit to make it a two 
piece, but I also find that toddlers are a bit harder to make a sloper for, 
considering they outgrow the sloper in just a few months, if not weeks. I 
would rather have a company pattern to work from, because then I can deal 
making an outfit in a larger size, that I currently don't have the 
measurements for.

Anyway, with good planning and research, I think Simplicity can find a 
balance between giving more details, and yet not too much details. Or if 
they want and aren't adverse to it, give links to well-known sites where 
more in-depth information from the in-depth historical costumers can be 
found, like Kass' site.

Kimiko

Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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I was there last year, and they said "no."
I was actually going to try to sneak a pic. (of the wire frames for the
tudor/gable headdresses), but right about then, some idiot in the same
section decided to try something similar, only using a nice, bright
flash, and they were all over him like cat hair on fabric!
--sue

David wrote:
> 
> > Also, the MoL does not allow general photography (or sketches, but that
> > didn't stop Wayne taking a few notes that were a little sketchlike).
> 
> That's odd...I was just there in August, snapped away like a madwoman with
> my digital camera, and no one even gave me a raised eyebrow!
> 
> Pam Dotson
> Everett, WA  USA
> 
> _______________________________________________
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From: "Lisa Sinervo" <Lisa-list@threadneedlest.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Just one more question?
Date: Tue, 14 Oct 2003 18:36:21 -0700
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I'd have to agree with this.  Although I would love all the research details
to go along with the pattern, I know the price of the pattern would have to
jump.  Historic costumers would be able to see the relationship to the
research and the price of the more costly pattern,  but I suspect most of
your customers would not and I think you might risk antagonizing them.  If
you included just some basics such as time period and inspiration for the
garment, and maybe have in your suggested fabrics sections divisions for
classes that would be nice, more than that you are entering into an entirely
different market.  Then again, some small pattern makers are successful in
this niche so maybe the market is bigger than we suspect.

Lisa Sinervo

----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, October 14, 2003 3:50 PM
Subject: RE: [h-cost] Just one more question?


> Martha Kelly wrote:
> <<I think it's extremely important for our reenactors, maybe the men
> even more than the women, to trust the provenance of historic
> patterns... Where do you think Simplicity should offer this information
> - even a bit is better than none - so that it would be accessible to
> people who are interested?>>
>
> Frankly, Martha, I don't think Simplicity shouldn't try to be all things
> to all people.  I was thrilled that your company was making a foray into
> better costumes.  But to delving into historical clothing is quite
> another story.  Are you really intending on including 10 pages of
> historical notes and reproductions of period artwork and sketches of
> museum pieces with every pattern?  Because that's what reenactors want.
> Are you going to include information on the weave and thread count of
> the fabric from which the museum original was made and suggestions on
> where to buy modernly-produced fabric that will pass?  Will you go into
> the details of period stitches and which were used on the garments
> studied and why?  This is the kind of detail we crave.  I don't think
> that's something Simplicity can afford to do and still mass market their
> patterns.
>
> Saying, "Based on an original in the Metropolitan Museum" (as Folkwear
> does) is one thing.  But the detail we desire is too much with which a
> commercial pattern company to concern itself.  You'd be boring most of
> your audience to get the attention of a few who would probably draft
> their own patterns from scratch anyway.
>
> Kass McGann
>
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I have so far resisted that temptation, thankyouverymuch! <g>
--sue

Chiara wrote:

> Not to mention Penny who has a library to maintain for those of us that
> use it for those really pretty things she has been finding that are
> anywhere from 75 to 100 years old. :) Have you all seen her new embroidery
> pattern collection?!?
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Subject: [h-cost] Re: Tudor gable headdresses,
 was V&A 'Gothic: Art for England  1400-1547' exhibition
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>I have a Tudor dress based on Jane Seymour's artwork,

I meant to say, on the portrait of Jane Seymour.

I better go have dinner and jumpstart my brain again with food.

Kimiko




Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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> Where do you think Simplicity should offer this information - even a
> bit is better than none - so that it would be accessible to people who
> are interested? We can't get any more information into the envelope. 
> My patterns and their instructions always cram every last inch.  We
> usually have to leave out the alternate sleeve or the Plan B collar
> treatment or something due to space. Where might people read this sort
> of thing?

Excellent question. I think that it would probably be good to have it 
perhaps on the main Simplicity website (with the site URL plainly on 
the envelope.) People already go there to look for things, why not 
add a "historical reference" section. Websites are a lot less 
expensive to put information on than anything like the pattern, the 
envelope or a separate book. If it's done as a PDF, it can be made so 
that you can't just copy from it. And for those who are not web 
access endowed, a place where they can write for the information.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for England
 1400-1547' exhibition
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At 07:33 PM 10/14/2003 -0600, you wrote:
>I was actually going to try to sneak a pic. (of the wire frames for the
>tudor/gable headdresses),


Perk? Wire frames for Tudor gables? ohhh... too bad, I would love to see 
how those frames are done. Been trying to figure out Tudor gables, and all 
I have to work on, besides the artwork, is Herbert Norris' book, and, well, 
I am not sure how accurate that info might be.

Anyone have any further info on Tudor gable headdresses? I have a Tudor 
dress based on Jane Seymour's artwork, and would love to enhance it further 
with the right hat.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: kat@grendal.rain.com
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Date: Tue, 14 Oct 2003 19:06:16 -0700
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Subject: Re: [h-cost] More on the Whole Big 3 Pattern Thing
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>   But it means
> that if I decide I want to work with that particular pattern, I know
> that going in that I'll have to shorten the waist, and can make the
> adjustments early on, before I hack into the silk charmeuse. 

Eeeek! You mean you don't make a muslin first just to make sure it 
fits the way you expect? 

I guess I learned long ago not to trust commercial patterns. ;)

And I've figured for the past 29 years that if I was going to go to 
that kind of effort, unless it was a specific feature of a dress I 
wanted to use, I might as well draft it from scratch. 

I still thank TPTB who put a home ec major in the room next to mine. 
While she frequently blocked the way out of my room when she was 
trying to draft her patterns in the hallway, learning that there was 
actually a system for doing this rather than having to figure it all 
out on my own. (I'd been adapting patterns for 5 years at that point 
and drape drafting some things without any instruction. Having a book 
on pattern drafting by the flat pattern method made it *much* 
easier.)

Kat
<kat@redtrollforge.com>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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On Tuesday 14 October 2003 09:33 pm, Sue Clemenger wrote:
> I was there last year, and they said "no."
> I was actually going to try to sneak a pic. (of the wire frames for the
> tudor/gable headdresses), but right about then, some idiot in the same
> section decided to try something similar, only using a nice, bright
> flash, and they were all over him like cat hair on fabric!

Ah.  That indicates that the V&A's issue was not with the taking of images, 
but with the use of flash--i.e., bright light.  In general, keepers of 
textiles rigorously control the temperature, humidity, and light conditions 
under which they display their specimens, for obvious reasons.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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> Anyone have any further info on Tudor gable headdresses? I have a
> Tudor dress based on Jane Seymour's artwork, and would love to enhance
> it further with the right hat.

Jean Waddie had (I haven't looked recently) an excellent website with 
directions for making a gabled hood. She also had (at one point, 
although I don't remember if it was on the website or one she sent 
me) pictures of a couple of the wires from the MOL. (I have a full 
set of ones that I shot in a private appointment, but I told them I 
wouldn't give it out in any sort of publication. And since I want to 
go back and do another appointment someday, I don't want to 
accidently piss them off.)

Kat
<kat@redtrollforge.com>


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> On Tuesday 14 October 2003 09:33 pm, Sue Clemenger wrote:
> > I was there last year, and they said "no."
> > I was actually going to try to sneak a pic. (of the wire frames for
> > the tudor/gable headdresses), but right about then, some idiot in
> > the same section decided to try something similar, only using a
> > nice, bright flash, and they were all over him like cat hair on
> > fabric!
> 
> Ah.  That indicates that the V&A's issue was not with the taking of
> images, but with the use of flash--i.e., bright light.  In general,
> keepers of textiles rigorously control the temperature, humidity, and
> light conditions under which they display their specimens, for obvious
> reasons.

My experience with the V&A is that they were less concerned about 
flash than having to have enough lighting in general for taking 
pictures. And tripods were right out. (I got special permission to 
use flash. And even with the letter in my hand the guard still called 
her supervisor to make sure.)

Most of their stuff is behind UV protection. (Which is why they 
allowed flash in the exhibits but not during the private 
appointments.)

The flash probably just alerted them to the camera. However, if they 
said "no pictures" it was probably because it was on loan from 
somewhere. They (at least in 1999, so it may have changed) usually 
allowed non-tripod photography unless it was a loaner exhibit. Then 
there was *absolutely* no photography. (Did they perhaps borrow the 
MOL's 16th Century headdress wire collection?)

At the Frick museum in NY City you had to check in even a small purse 
to make sure that you didn't have a camera snuck in. (That's probably 
the most stringent of any of the museums I've ever been to so far.)

Kat
<kat@redtrollforge.com>


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From: "Glenda Robinson" <glendar@compassnet.com.au>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Cathy,

I wasn't talking about the V&A, who have a wonderful "photos, but no flash"
policy.

The Museum of London was the 'no photos, never ever, or we'll have to shoot
you' one. (yes, that's actually what we were told!)

Glenda.
----- Original Message ----- >

> Ah.  That indicates that the V&A's issue was not with the taking of
images,
> but with the use of flash--i.e., bright light. > -- 
> Cathy Raymond <cathy@thyrsus.com>
>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Tue, 14 Oct 2003 22:40:09 -0400
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On Tuesday 14 October 2003 10:17 pm, kat@grendal.rain.com wrote:
> > On Tuesday 14 October 2003 09:33 pm, Sue Clemenger wrote:
> > > I was there last year, and they said "no."
> > > I was actually going to try to sneak a pic. (of the wire frames for
> > > the tudor/gable headdresses), but right about then, some idiot in
> > > the same section decided to try something similar, only using a
> > > nice, bright flash, and they were all over him like cat hair on
> > > fabric!
[snip]

> My experience with the V&A is that they were less concerned about
> flash than having to have enough lighting in general for taking
> pictures. And tripods were right out. (I got special permission to
> use flash. And even with the letter in my hand the guard still called
> her supervisor to make sure.)

?  This confuses me.  Why should they care whether you had enough light to 
take pictures for yourself?  I can see why they might ban taking pictures (IP 
issues) or using flash (light damage issues), but if they decided to permit 
picture-taking at all, why should they care about the effect of the light 
conditions?



> Most of their stuff is behind UV protection. (Which is why they
> allowed flash in the exhibits but not during the private
> appointments.)
>
> The flash probably just alerted them to the camera. However, if they
> said "no pictures" it was probably because it was on loan from
> somewhere. They (at least in 1999, so it may have changed) usually
> allowed non-tripod photography unless it was a loaner exhibit. Then
> there was *absolutely* no photography. (Did they perhaps borrow the
> MOL's 16th Century headdress wire collection?)

Interesting.  Thanks, Kat, for the correction.


> At the Frick museum in NY City you had to check in even a small purse
> to make sure that you didn't have a camera snuck in. (That's probably
> the most stringent of any of the museums I've ever been to so far.)

Now *this* is the kind of behavior I normally expect from museums.  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re. willowy models
Date: Tue, 14 Oct 2003 22:48:06 -0400
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On Tuesday 14 October 2003 02:22 am, Penny Ladnier wrote:
[snip]

> One thing to consider is that certain time periods look better on a heavier
> person than a thin person.  I love to see a pigeon breast gown on a heavier
> lady.  It takes a lot of padding for a thinner woman and it just doesn't
> look as good as a heavier woman.  

Right.  And there are periods in which being tall, or at least slender in 
proportion to one's height, is key.  I look ghastly in the large-sleeved 
styles of the 1890's, because they were not geared for my petite, 
short-waisted and compact figure.


[snip]

> The big shift to women having a thin silhouette came about in 20s.  Patou
> tried it in the pre-war era and it wasn't the right time.  In the book
> there is much discussion about art and fashion mixing.  Premiere artists
> were designing for the theater and it carried over into the mainstream
> fashion. If you look at a lot of art deco the women are very elongated. 
> This was part of the look of the style of art.  By 1925, the end of the art
> deco movement, women's fashions were very straight and elongated.

Though, ironically, the average woman was not all that slender, as photographs 
of women in bathing suits of the period and chorus-style dancers remind us.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Tue, 14 Oct 2003 23:20:46 -0400
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On Tuesday 14 October 2003 10:28 pm, Glenda Robinson wrote:
> Cathy,
>
> I wasn't talking about the V&A, who have a wonderful "photos, but no flash"
> policy.
>
> The Museum of London was the 'no photos, never ever, or we'll have to shoot
> you' one. (yes, that's actually what we were told!)

Sorry, I misunderstood.  

The MOL policy you've just described, though, is what I typically expect of 
museums in general.  The V&A's policy is more interesting to me because it 
diverges from what I thought was the norm.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Date: Tue, 14 Oct 2003 23:12:44 -0500 (CDT)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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On Tue, 14 Oct 2003, Catherine Olanich Raymond wrote:

> The MOL policy you've just described, though, is what I typically
> expect of museums in general.  The V&A's policy is more interesting to
> me because it diverges from what I thought was the norm.

I have taken hundreds, maybe thousands of pictures in multiple museums in
London, Paris, Brussels, Bruges, Tournai, Ghent, Antwerp, and Madrid, not
to mention Chicago, Los Angeles, Baltimore, and Washington (just to name
the places that spring to mind first). The only place I can remember where
photography was not allowed was in a small private collection in Madrid
(Galerie Lazaro, IIRC). Interestingly, one of the curators passed by me
while I was sketching a picture and asked what I was doing. When I told
him -- and explained that I had to sketch because photos were not allowed
-- he said, "Oh, you're a real scholar, not a tourist! You can take
pictures if you want." (I had no Spanish, so this conversation took place
via translation by my traveling companion -- a Norwegian. I have no idea
how she might have embellished my explanation!)

I know I have been lucky, and perhaps things have changed in the last few
years; I haven't done much traveling since 9/11. But I did want to note
that my experience has been that photos are allowed more often than not. 

I do not recall whether I considered taking photos at the MoL, which I
last visited in, hmm, 1990. I have no photos from there, so perhaps they
did have the policy in place then, in which case I would have respected
it. (I had tried to arrange for an appointment to see the textile finds on
that trip, but the curator then in charge of them was not available during
my stay in London.) I can't recall any other museum offhand where I've run
into an outright photo ban, though I'm sure there must have been some, or
I wouldn't have developed my habit of checking in advance.  Certainly the
number of museums and collections in which I was allowed to photograph
have outnumbered the ones with bans by a large proportion.

I should note that I do not use a flash or tripod.

--Robin

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From h-costume-bounces@indra.com  Wed Oct 15 00:44:05 2003
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Date: Wed, 15 Oct 2003 00:41:27 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Robin wrote,
>I do not recall whether I considered taking photos at the MoL, which 
>I last visited in, hmm, 1990.

      I visited stockings in the Museum of London, V&A, Nottingham, 
and Bath, in 2001.  I did not use a flash, either, and was allowed to 
take photographs.  These were all research appointments.

      There was one museum in the US that I visited where the light 
was too low, and they would not allow the flash.  The curator did, 
however, put the stocking on a xerox machine & I got a very clear 
image with all the stitches visible.

      With most museums, I had to sign an agreement that I would not 
publish the photos without additional written permission.  I can do 
slide lectures, though.  Anyone want to hear about 18th century 
hosiery? :-)

       -Carol
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Wed, 15 Oct 2003 00:56:32 -0400
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On Wednesday 15 October 2003 12:41 am, Carol Kocian wrote:
> Robin wrote,
[snip]

>       There was one museum in the US that I visited where the light
> was too low, and they would not allow the flash.  The curator did,
> however, put the stocking on a xerox machine & I got a very clear
> image with all the stitches visible.

This absolutely baffles me.  Why no flash, if you're willing to put the item 
on a photocopier and expose it to equally bright light for even longer?

Comments, anyone?

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Carol asked:
<<Anyone want to hear about 18th century hosiery? :-)>>

Well, yeah!  Did you by any chance see any non-knitted pieces?

Kass

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Date: Tue, 14 Oct 2003 22:50:00 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses,
 was V&A 'Gothic: Art for  England 1400-1547' exhibition
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Thanks Kat,

With your info, I was able to find the site via google:
http://www.montgomerie.demon.co.uk/enghood/enghood1.htm

Very in depth info, and I am going to print the pages out to make the 
"English Hood". After I finish working the gloves, I will be making this 
hood. {doing a happy dance}

Kimiko



At 07:10 PM 10/14/2003 -0700, you wrote:
>Jean Waddie had (I haven't looked recently) an excellent website with
>directions for making a gabled hood. She also had (at one point,
>although I don't remember if it was on the website or one she sent
>me) pictures of a couple of the wires from the MOL. (I have a full
>set of ones that I shot in a private appointment, but I told them I
>wouldn't give it out in any sort of publication. And since I want to
>go back and do another appointment someday, I don't want to
>accidently piss them off.)
>
>Kat
><kat@redtrollforge.com>



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: Re: [h-cost] Just one more question?
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> > Frankly, Martha, I don't think Simplicity shouldn't try to be all things
> > to all people.  I was thrilled that your company was making a foray into
> > better costumes.  But to delving into historical clothing is quite
> > another story.  Are you really intending on including 10 pages of
> > historical notes and reproductions of period artwork and sketches of
> > museum pieces with every pattern?

Actually those reenactors would probably be able to delve into the info if
they know what the garment was.

Stating, we used x y and z as our sourses, in a b c museums/collection is
probably as much as is needed on the envelope/pattern intstuctions.

This way it's small enough that those not interested can ignore it and not
feel they've paid for extraneous material, those int he middle range can
find images of the items say online or visiting the museum, and those who
want to know materials, thread count, thread twist, dyes etc can go get that
information themselves as they know what the garment was.

I'm sure most would prefer the hunt and be able to make their own
conclusions. I know even if there was a 10 page bit of documentation I'd
still go out and find out for myself. I've come across too many assumptions
and typos in documentation.

I haven't been part of this thread mostly because I draft my own patterns,
and learn new techniques in the process. But I do look at them a lot and
find a bit of inspiration or ideas to maybe go into another era.

I also like to look at pretty things;)

The other reason is the sheer cost they are in my country. I started to
draft my own after buying a couple of Neue Mode magazines and realising how
so many modern clothes can be broken down to a few basic shapes. Then going
through miniature pattern books like Janet Arnold's and Evolution in
Fashion, Corsets and Crinolines and a few very old books, one of which is
well out of copywrite and seems to have been removed from the university
library, pity.

Anyway being able to see how a garment is cut but laid out on less than A3
size meant I could mentally fold and piece them as I didn't have to have the
entire lounge floor clear to spread the pattern pieces out.

I did have to add that I adored the sideless surcote and huge gown in
turquoise dupioni. It was a really clean dramatic design. I can see why it
would put some people off in its fabric consumption (but I love circle
skirts so it probably wouldn't for me) and some historical buffs would not
appreciate its cut. But it really was a very very lovely dress. If I ever
had the chance to get the pattern I would probably grab it. I don't know if
I could afford to pay for postage from the US however;)

michaela
http://costumes.glittersweet.com


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----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 15, 2003 5:12 PM
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition


>
> On Tue, 14 Oct 2003, Catherine Olanich Raymond wrote:
> > The MOL policy you've just described, though, is what I typically
> > expect of museums in general.  The V&A's policy is more interesting to
> > me because it diverges from what I thought was the norm.

> I have taken hundreds, maybe thousands of pictures in multiple museums in
> London, Paris, Brussels, Bruges, Tournai, Ghent, Antwerp, and Madrid, not
> to mention Chicago, Los Angeles, Baltimore, and Washington (just to name
> the places that spring to mind first). The only place I can remember where
> photography was not allowed was in a small private collection in Madrid
> (Galerie Lazaro, IIRC).

This has also been my experience. Though for fewer museums;) I know I was
blown away when I was able to take photos at the Louvre in 1997. I got my
camera into the v&a as well as a few more on the continent.

The only places I've not been able to take photos were the Auckland art
gallery, pity, they have a couple of really neat portraits, and Te Papa in
Wellington.

For Te Papa I was visiting the Lord of the Rings exhibition and we were not
allowed to sketch either, which I think is a bit much.... but still.

I did manage to get a pen in and take some quick sketches though;)

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
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>Anyone have any further info on Tudor gable headdresses? I have a Tudor 
>dress based on Jane Seymour's artwork, and would love to enhance it 
>further with the right hat.

When I was pregnant with my 19-year-old, I did a maternity gown like one in 
the Thomas More family drawing.  I did a gable headdress for it, and liked 
how it looked, but don't have a digital camera with which to take pictures 
of it.  Do you have a specific question?


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Date: Wed, 15 Oct 2003 02:37:28 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
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Greetings,

I just have tell people about the book my husband gave me for my birthday 
(which was in July) yesterday.  It is the Lions of Fashion 
catalogue. 
http://www.lsh.se/livrustkammaren/English/Pages/Catalouge_shop.htm  It is 
an exhibition catalogue showing men's clothing from the 16th, 17th, and 
18th centuries.  It is a must have for anyone at all interested in men's 
clothing from these periods.  There is even an extant ruff and falling band 
(which I hadn't know existed) as well as a colour photograph of the Nils 
Sture (sp?) suit that is in Patterns of Fashion.  It is a wonderful think 
hardcover book and I am so pleased!

Cheers,
Danielle

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] "Henry VIII" on TV tonight
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I've remembered something else that made me laugh, though it's not
costume-related. A scene at the Vatican was preceded by a view of the
dome of St.Peter's and surrounding buildings, which surely were not
built until the next century?

Kate Bunting
Library, University of Derby
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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I've taken photos in all the uk (inc Scottish) costume museums and standard
practice is ok but not for publication and with a high res film so no flash
needed. I even managed to take pics at the Castle Howard costume auction
last week

>       With most museums, I had to sign an agreement that I would not
> publish the photos without additional written permission.

Dawn.

Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716


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On 09:27 15/10/2003 Kate M Bunting said
>I've remembered something else that made me laugh, though it's not
>costume-related. A scene at the Vatican was preceded by a view of the
>dome of St.Peter's and surrounding buildings, which surely were not
>built until the next century?

The Dome was designed by Michelangelo and completed by his death in 1564. 
It was one of his last achievements. The piazza in front was by Bernini, 
and is wholly seventeenth century.
Didn't notice that one, well spotted!
I spy a new game. See how many mistakes you can spot! Sadly, that would 
mean watching it, and I have no intention of going back next week.


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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Subject: Re: [h-cost] light problems: V&A 'Gothic: Art for England 1400-1547'
	exhibition
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> This absolutely baffles me.  Why no flash, if you're willing to put the item 
> on a photocopier and expose it to equally bright light for even longer?

It's probably an education thing.  Most of us have heard about the light 
from a flash being X times a day's exposure of sunlight, because 
tourists carry flash cameras and so it can be a problem.  It's a rare 
tourist that will carry a photocopy machine.

And it may be that the photocopy machine uses somewhat less light than a 
flash; I don't know.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  Education and religion are two things not regulated by supply and
demand. The less of either the people have, the less they want.
-- Charlotte Observer, 1897
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Date: Wed, 15 Oct 2003 08:48:31 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: RE: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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      Colonial Williamsburg has three bias-cut linen stockings.  I 
think one is on display in the current exhibit.

      There was another funky bias cut linen stocking, it actually had 
some openwork or lace on it.  I can't remember the exact details, I 
think it was early 19thC and/or perhaps an ethnic piece.  And I think 
it was in the Boston MFA.  Sorry to be so vague!  There weren't a lot 
of woven hose, but that's what I recall.

      -Carol

>Well, yeah!  Did you by any chance see any non-knitted pieces?
>
>Kass
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Date: Wed, 15 Oct 2003 08:54:56 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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Cathy wrote,
>This absolutely baffles me.  Why no flash, if you're willing to put the item
>on a photocopier and expose it to equally bright light for even longer?

      I was baffled, myself, but was not going to argue!  Things were 
different in another department of the same museum, so it was not a 
museum-wide policy.

      Once they had the xerox, though, they could make a second 
generation copy and not put the stocking on the copier again.  Maybe 
that was part of the reasoning.

      -Carol
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Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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I didn't take a picture of the gable wires at MOL but did a sketch which 
you can find here:
http://www.uvm.edu/~hag/sca/tudor/frame1.gif and
http://www.uvm.edu/~hag/sca/tudor/frame2.gif

The wire looked very much like that used for wire hangers, perhaps a bit 
  lighter--think cheap wire hangers from the dry cleaner.

You'll also find there (http://www.uvm.edu/~hag/sca/tudor/gable.html) a 
collection of gable headdress images, and the beginnings of some 
instructions. Based on the wires, I came up with a rather different 
method of construction that Jean Waddie's. If you are careful about the 
proportions/measurements around your face you will get a very good 
fitting headdress, though I'm rethinking the design now a bit. Maybe 
some day I'll finish that page...

- Hope


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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] book gloat
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whooooooo!! the book sounds wonderful!--the description had me drooling on my keyboard!
Congrats, Danielle--and Enjoy:)
Albra

Danielle Nunn-Weinberg <dannw@mn.rr.com> wrote:
Greetings,

I just have tell people about the book my husband gave me for my birthday 
(which was in July) yesterday. It is the Lions of Fashion 
catalogue. 
http://www.lsh.se/livrustkammaren/English/Pages/Catalouge_shop.htm It is 
an exhibition catalogue showing men's clothing from the 16th, 17th, and 
18th centuries. It is a must have for anyone at all interested in men's 
clothing from these periods. There is even an extant ruff and falling band 
(which I hadn't know existed) as well as a colour photograph of the Nils 
Sture (sp?) suit that is in Patterns of Fashion. It is a wonderful think 
hardcover book and I am so pleased!

Cheers,
Danielle

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Nope.  They said "no pictures" of anything.  Of course, I'm sure I came
off more as your Typical American Tourist than as a Legitimate
Historical Costumer or Researcher.
The Costume Museum in Bath had a similar policy, but their explanation
was "security reasons."  (Someone using some sort of camera to take note
of where the cameras were and such, I guess.)
My digital camera even has a museum setting (non-flash), but it was
still no-go at either place...
I wasn't asking to take a picture of one particular item, I must admit
(because when I asked, I didn't know what I'd be seeing).  In
retrospect, I believe the stuff I was particularly interested were part
of their permanent collections.  My friend Jane went particularly nuts
over the Cheapside Horde....
--sue

kat@grendal.rain.com wrote:
> 

> Most of their stuff is behind UV protection. (Which is why they
> allowed flash in the exhibits but not during the private
> appointments.)
> 
> The flash probably just alerted them to the camera. However, if they
> said "no pictures" it was probably because it was on loan from
> somewhere. They (at least in 1999, so it may have changed) usually
> allowed non-tripod photography unless it was a loaner exhibit. Then
> there was *absolutely* no photography. (Did they perhaps borrow the
> MOL's 16th Century headdress wire collection?)
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Date: Wed, 15 Oct 2003 11:10:10 -0400 (EDT)
From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] cleaning white kid gloves
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Also if it does dry with hard yellow spots they can usually be worked
out with your fingers by massaging them.

As an aside-- kid gloves that start out sturdy can be washed.  I had a
pair of wonderful white, butter soft, long kid gloves that had coke
spilled on them--I was heartbroken.  I washed them and they came out ok
(never true white again though, but wearable).  But by mistake one of
the gloves got mixed up in my laundry and went throught the washer and
dryer!  I pulled out the shrivelled glove and whetted it and massaged it
as it dried and it turned out not half bad.

Katy

On Mon, 13 Oct 2003, Dawn Wood wrote:

>you also need to add glycerine to the final rinsing water and when you take
>them off to try put them on a soft towel and every so often put them on
>gently and ease the leather this will stop them going hard.
>
>Being a glove maker and collector I've done this several times with no
>problems
>
>Dawn
>Ages Of Elegance makers of historical clothing, uniforms and bridalwear
>http://www.agesofelegance.co.uk 0113 277 6716
>
>> I've heard that a good way to clean kid gloves is to put them on and wash
>> your hands with a mild soap while wearing them.  > > quite a while, so....
>> > I've just acquired a pair of over-the-elbow length vintage white kid
>> > gloves.  While they are in generally good condition (soft leather, no
>> > rips), they are quite dirty.  Does anyone have a good method for
>cleaning
>> > these?
>
>
>_______________________________________________
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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: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
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Would someone let me know if this letter gets through to the list? My server
was bouncing all of my mail like crazy this past couple of weeks. I think I
have it sorted out, but now I am not receiving mail from any of the lists I
am on.

Thanks!

Sheridan



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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Troubles
Date: Wed, 15 Oct 2003 11:37:08 -0400
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Received!

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Sheridan & Shane
Sent: 15 October 2003 11:21 AM
To: Historical Costume
Subject: [h-cost] Troubles

Would someone let me know if this letter gets through to the list? My
server
was bouncing all of my mail like crazy this past couple of weeks. I
think I
have it sorted out, but now I am not receiving mail from any of the
lists I
am on.

Thanks!

Sheridan



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To: Historical Costume <h-costume@indra.com>
Date: Wed, 15 Oct 2003 09:13:51 -0700
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Subject: Re: [h-cost] light problems: V&A 'Gothic: Art for England 1400-1547'
	exhibition
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<kat@redtrollforge.com>

 
> And it may be that the photocopy machine uses somewhat less light than
> a flash; I don't know.

A photocopy machine actually uses a lot more light than a flash, 
unfortunately. Very hard on books!

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Wed Oct 15 12:40:38 2003
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Subject: [h-cost] Museum photo policy, was: Re: V&A 'Gothic: Art for England
	1400-1547' exhibition
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> > My experience with the V&A is that they were less concerned about
> > flash than having to have enough lighting in general for taking
> > pictures. And tripods were right out. (I got special permission to
> > use flash. And even with the letter in my hand the guard still
> > called her supervisor to make sure.)
> 
> ?  This confuses me.  Why should they care whether you had enough
> light to take pictures for yourself?  I can see why they might ban
> taking pictures (IP issues) or using flash (light damage issues), but
> if they decided to permit picture-taking at all, why should they care
> about the effect of the light conditions?

It is not your picture taking that is the problem with the light but 
having the light on in the gallery low enough not to damage the 
textiles which is not enough light to shoot most pictures. (I usually 
use the highest ASA slide film available and shoot it so that it gets 
pushed one more stop. Even then there's often not enough light.)

It's why museums sometimes (like at the DeWitt museum at 
Williamsburg) have generally low light conditions but you can press a 
button to raise the light level enough to see. In general there is 
enough light for the usual casual looker (who frankly doesn't need to 
see much more than an outline of an object) and enough so that you 
don't hurt yourself, but they want to keep it that low until someone 
really does want to get a better look. (Or in some museums, not even 
that.)

It's always a good idea to check on policy too. When I went to the 
MOL in 1999 I was (in their *horrible* low light conditions) trying 
to take non-tripod pics. (I'm pretty stable and actually got some 
decent pics with exposures of a minute or more.) The museum guard at 
one point spotted me and came up and said "you can take flash photos 
if you want, you know." (Of course, being used to US museums and 
having gotten permission from the MOL and V&A to use flash under 
specific conditions, it didn't even dawn on me that they would allow 
it to just anyone! I didn't even have it with me.)

Some in the US allow the use of tripods (which they will rent to you) 
on specific (non-busy) days if you ask ahead. I was trying to get a 
shot at the main Metropolitan MOA and a guard came up and told me 
that I could get a tripod permit easily. (The directions for it 
sounded like it took an act of Congress and promising a first born 
child to get a tripod permit. But I didn't know until the guard told 
me they would rent one to me, so I had decided I didn't want to 
bother with it since I didn't want to haul my tripod on the plane.)

Sadly, because of misuse of information by some unscrupulous person 
(at least that's *my* interpretation on what happened), they no 
longer allow photography in many museums (including the MOL, who 
recently had a major problem which resulted in the policy change) 
under any circumstance. (Although I suspect/hope that doesn't include 
people who have made special arrangements.) This is because they need 
to protect their museum in terms of money. (The artifacts themselves 
actually do better than many people think with flash according to the 
museum people I spoke with at both V&A and MOL. It's unauthorized use 
that is making the policy change.)

Kat
<kat@redtrollforge.com>


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> A photocopy machine actually uses a lot more light than a flash, 
> unfortunately. Very hard on books!

I'd heard the biggest problems was to the bindings, (not a problem with 
stockings per this example) but to really know, we'd have to find out 
the light output of a flash and a standard photocopier and compare them. 
  Then I'd like to compare them with daylight!  Who knows how inflated 
the figures I've heard might be, when passed through several generations 
of well-meaning docents?

However, I'm not sufficiently motivated to hunt them down at the moment; 
a quick search at the Xerox website didn't turn up specifications.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  Education and religion are two things not regulated by supply and
demand. The less of either the people have, the less they want.
-- Charlotte Observer, 1897
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Kat sez:
>>   But it means>> that if I decide I want to work with that particular pattern, I know>> that going in that I'll have to shorten the waist, and can make the>> adjustments early on, before I hack into the silk charmeuse. 
>Eeeek! You mean you don't make a muslin first just to make sure it >fits the way you expect? 
Me, personally?  For some pricey piece of cloth like that?  Of course I do--but that was a lesson I learned the hard way, and I don't always do a muslin if the pattern is simple enough (usually office clothes--skirts, tops and stuff), because there at least I can chalk the alterations onto either the pattern or directly on the fabric.  I'm speaking in generalities because I know for a fact that a huge number of home stitchers--and not necessarily beginners, either--don't do any of those sorts of things because it doesn't occur to them.  Partly, I think, because I don't think the presentation of patterns, at least by the big 3 we were talking about,  are set up to encourage the home stitcher to think that way.  
For example, a couple of weeks ago a friend was having a themed birthday party for her husband-1930s.  Hoorah!  Luckily for me one of the Vintage Vogue patterns only required a couple of easy adjustments for me (which I made on the pattern--no muslin!), and so I offered to help her put together her dress.  She had a pattern--modern, but close enough for a party--a princess seamed halter.  She's a big girl--tall and very curvy, and baby got back.  I got to her house and she was perusing the envelope.  "I guess I'll cut a size 18--but maybe I'd better do the 20 because of my butt."  "Why don't we measure the pattern," I said.  "Oh, I never do that."  "Why?" (I sort of gasped--allthough it explained why she doesn't finish a lot of stuff even though her construction skills are pretty high.)  "It just never occurred to me.  I wear an 18 or a 20, so it should be fine."  At that point I threw myself on the hand-grenade and insisted that we measure the pattern and make a muslin.  An!
 d *what a stunning surprise* the dress fit and she was so happy with it she's making her Christmas dress out of the altered pattern.Now, she's no dope--but it just never occurred to her that the sizes between patterns and OTR clothes don't coincide, and that all the measurements are arbitrary anyway.  
Another problem with patterns today is that I don't think they have kept up with the changes in their targeted customers.  The basic form of purchased patterns has been the same for quite a long time; certainly I have some patterns from the teens that, with the exception of using punched out holes to mark darts, pleats, etc., on the tissue, are virtually unchanged in presentation and approximate level of instruction.  But I'd venture a guess that when our mothers and grandmothers learned to sew--or at least when my own did--they were coming from a not-too-distant past of highly fitted, boned and tucked style of clothing that required lots of measuring and altering in order to fit decently--and I'm not talking about the professionally produced garments, but the clothing that was made at home using commercial patterns.  
My own mother hated to sew, but she knew how and although the things she stitched for us were simple (tent dresses, shifts, shorts, jumpers) she ALWAYS measured us carefully and would alter the patterns with newspaper and tape (!) when needed.  Of course, she learned from my grandmother, who was in the Ladies Garment Workers Union, but (and I'm positing here) I'm willing to bet that her experience wasn't that much different from other women in the '30s and '40s--they were taught to sew one-on-one by someone who knew how.
Contrast that with the way I learned to sew.  Actually, my mother sort of taught me, but I had actual instruction in the 7th grade--one semester of required "home ec" in the LA CIty school district.  What I learned:  How to make an elastic-waist skirt my taking my hip measurements and adding half again as much (ewwwww!  horrible garment).  How to make a drawstring gym bag.  How to set in a zipper.  Everything else I learned on my own--and my bet is that my own experience is typical of many other home stitchers. I learned everything the hard way--through trial and hideous error.  And I'm pretty sure that I would have abandoned sewing altogether long ago if I hadn't needed to make my own dress for my first visit to the Renaissance faire, because frankly, most of the clothing I attempted to make for myself ended up as dustrags--the whole process being a torture.  
The internet has changed a lot of things, and it's easier to get the information you need to do almost anything online--I finally learned how to set an invisible zipper without stupid plastic attachments from a Web site--but I guess my question is, or not a question, really, but more of an observation:  Why modern commercial pattern companies don't do more to try to improve the experiences of their customers.  Their great untapped market is not the professional or even really advanced seamstress.  These are the people who, as noted, draft their own patterns.  Their market is the beginning to intermediate home stitcher who uses it as a creative outlet and would LOVE to make more clothes, if only she or he could be statistfied with them.  I think that explains a lot of the popularity of quilting--creative, but doesn't have to be fitted to a living body that doesn't conform to the fit model's proportions as translated into the sloper.
Contrast that with at least one line of historical patterns:  Truly Victorian, which I think is just a great line for beginners, or anyone who doesn't know how to draft.  The first thing on the instruction sheet is a section devoted to custom fitting the pattern, and how to make the alterations needed.  Brilliant.  So what's the big deal about adding such a sheet to a Simplicity or Vogue pattern?  Or if the print cost is an issue, why not post it on the Web site?  WOuldn't people be more inclined to sew their own clothing if the chances of it turning out right and fitting well were increased?  Wouldn't that help to increase profits for the pattern companies, and all other purveyors of sewing paraphernalia?
Sheesh, look at all that.  Honestly didn't mean to turn this into a rant, but I just get agitated sometimes. 
Pallas



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It appears I'll be doing yet another lecture at KWCS this weekend: "The
Fifteenth Century V-Necked Gown," which has just been added to the
schedule today. Some of you have heard this lecture before; I usually
include it in my lecture days, and I presented it at KWCS I in 2000. I
know some people have asked about it, so I wanted to give folks a heads-up
about the late addition.

I am also presenting my two-hour block on "The Gothic Fitted Dress" and
"The Greenland Gored Gown," and a research methods lecture on recognizing
and understanding Victorian influence in medieval costume research.

Full updated class schedule is at
http://www.caerthe.org/kwcs/classsched.html

Feel free to forward this info elsewhere if you think people would be
interested.

Hope to meet some h-costumers there... Anyone up for putting a red "H" on
your badges?

--Robin

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Date: Wed, 15 Oct 2003 16:58:06 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] light problems: V&A 'Gothic: Art for England 1400-1547'
	exhibition
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     I'm vaguely remembering something about movie scripts, I think it was for 
ET.  The director wanted the story line to be secret while filming, and had 
scripts printed on light sensitive paper.  If the script was photocopied, the 
page would turn a color.

     I'm thinking, what if the script was in sunlight?  Is photocopier light 
that much more intense?  Or perhaps most of the filming was indoors, or the 
scripts were not taken outside?

     What I wonder is how different photocopier light is from sunlight that 
this would work!

     -Carol

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>  Actually, my mother sort
> of taught me, but I had actual instruction in the 7th grade--one
> semester of required "home ec" in the LA CIty school district.  What I
> learned:  How to make an elastic-waist skirt my taking my hip
> measurements and adding half again as much (ewwwww!  horrible
> garment).  How to make a drawstring gym bag.  How to set in a zipper. 
> Everything else I learned on my own--and my bet is that my own
> experience is typical of many other home stitchers. I learned
> everything the hard way--through trial and hideous error.

You still had far more instruction than the average woman coming out 
of the schools for many years. They aren't expected to take any home 
ec so sometimes they don't even know how to thread a needle, lay out 
a pattern (and the pattern layout instructions don't really give them 
the information they need about what is meant by grainline and why 
it's important.) They have never used a sewing machine (and many are 
actually as afraid of them as they would be of a power saw.) They 
actually do need a level of instruction that most people would find 
demeaning. (You'd be surprised how much that skirt and gym bag taught 
you. And they missed out on all that.)

>   The internet has changed a lot of things, and it's easier to
> get the information you need to do almost anything online--I finally
> learned how to set an invisible zipper without stupid plastic
> attachments from a Web site--

Oooooo, do you have the URL for that. I've been sewing on a sewing 
machine for 35 years (which coincidently was about the time when 
invisible zippers first came out on the market) and I still haven't 
really done it without the plastic guides (or at least, not perhaps 
correctly.) I'd love to see how they did that!

>   Why modern commercial
> pattern companies don't do more to try to improve the experiences of
> their customers.  Their great untapped market is not the professional
> or even really advanced seamstress.  These are the people who, as
> noted, draft their own patterns.  Their market is the beginning to
> intermediate home stitcher who uses it as a creative outlet and would
> LOVE to make more clothes, if only she or he could be statistfied with
> them. 

I think Martha's mention of how little room is available in the 
pattern envelope is a big part of that. It's assumed you have some 
sewing experience.

They used to have some "Very easy" patterns which were meant for the 
new sewer which had far more directions in them. I haven't looked for 
that kind of pattern for a long time.

>   So
> what's the big deal about adding such a sheet to a Simplicity or Vogue
> pattern? 

I think from what Martha said (and what I've noticed about patterns) 
is that the envelope really won't hold another sheet of paper.

>  Honestly didn't mean to turn this into a rant, but I just get
> agitated sometimes. Pallas

I think that we are all frustrated by this. We see the options for 
home sewers and teaching home sewers diminishing and yet the people 
who would benefit from it the most are leaving it to private 
individuals in small companies to do it for them. Consequently, 
people who don't have access to anything but the Big 3 don't get 
educated and don't buy even Big 3 patterns. It's a downward spiral 
that is impacting on all of us.

Kat
<kat@redtrollforge.com>


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"Kass McGann" <historian@reconstructinghistory.com> wrote:
> 
> Frankly, Martha, I don't think Simplicity shouldn't try to be all things
> to all people.  I was thrilled that your company was making a foray into
> better costumes.  But to delving into historical clothing is quite
> another story.  Are you really intending on including 10 pages of
> historical notes and reproductions of period artwork and sketches of
> museum pieces with every pattern?  Because that's what reenactors want.
> Are you going to include information on the weave and thread count of
> the fabric from which the museum original was made and suggestions on
> where to buy modernly-produced fabric that will pass?  Will you go into
> the details of period stitches and which were used on the garments
> studied and why?  This is the kind of detail we crave.  I don't think
> that's something Simplicity can afford to do and still mass market their
> patterns.

Be fair.  Period Patterns and Truly Victorian are considered excellent
historical pattern companies and even _they_ don't go into the level of
detail that you've just enumerated.  There's no reason to hold Simplicity
to a higher standard than the specialty pattern companies.

Lee M.Thompson-Herbert        lee@retro.com	      KoX 1995, SP4
Head Muso, White Rats Morris, Faultline Morris
Member, Knights of Xenu (1995).  Chaos Monger and Jill of All Trades.
"A head-on collision between Morticia Adams and Martha Stewart"
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Date: Wed, 15 Oct 2003 11:24:13 -0700
Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
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I agree with everything that kat said in her response to the previous email.
I also have comments.

On 10/15/03 10:37 AM, "kat@grendal.rain.com" <kat@grendal.rain.com> wrote:
 
> 
>>  Actually, my mother sort
>> of taught me, but I had actual instruction in the 7th grade--one
>> semester of required "home ec" in the LA CIty school district.  What I
>> learned:  How to make an elastic-waist skirt my taking my hip
>> measurements and adding half again as much (ewwwww!  horrible
>> garment).  How to make a drawstring gym bag.  How to set in a zipper.
>> Everything else I learned on my own--and my bet is that my own
>> experience is typical of many other home stitchers. I learned
>> everything the hard way--through trial and hideous error.
> 
> You still had far more instruction than the average woman coming out
> of the schools for many years. They aren't expected to take any home
> ec so sometimes they don't even know how to thread a needle, lay out
> a pattern (and the pattern layout instructions don't really give them
> the information they need about what is meant by grainline and why
> it's important.) They have never used a sewing machine (and many are
> actually as afraid of them as they would be of a power saw.) They
> actually do need a level of instruction that most people would find
> demeaning. (You'd be surprised how much that skirt and gym bag taught
> you. And they missed out on all that.)
>
We too had home ec in junior high school (40+ years ago before home ec was
politically incorrect) and that simple blouse I made taught me buttonholes
and setting in a sleeve and some handwork that I hadn't learned from the
things I made with my mom at home.  I hated the blouse but I did learn some
valuable skills. My daughters want to sew but didn't want instruction until
they realized that one can't learn by osmosis - watching me sew from the
time they were quite young, helping me pin and unpin didn't teach them how
to make that skirt they wanted for Saturday. As I've sewn while they watched
I taught them theory. They understand the *why* of grainline and why one
cuts pieces this way rather than that way for drape. They understand how to
match a pattern in the fabric onto the pattern pieces but the actual sewing
daunts them. (I understand all the rules of football from years of watching,
but I'd never play the game.)

>>   The internet has changed a lot of things, and it's easier to
>> get the information you need to do almost anything online--I finally
>> learned how to set an invisible zipper without stupid plastic
>> attachments from a Web site--
> 
> Oooooo, do you have the URL for that. I've been sewing on a sewing
> machine for 35 years (which coincidently was about the time when
> invisible zippers first came out on the market) and I still haven't
> really done it without the plastic guides (or at least, not perhaps
> correctly.) I'd love to see how they did that!

I'd like to have that URL too. I've never found the right attachment to get
the da** invisible zipper foot to fit my machine so I've always put them in
by hand. It never stopped me, but it would certainly be faster to insert
zippers by machine.
> 
> I think Martha's mention of how little room is available in the
> pattern envelope is a big part of that. It's assumed you have some
> sewing experience.
> 
> They used to have some "Very easy" patterns which were meant for the
> new sewer which had far more directions in them. I haven't looked for
> that kind of pattern for a long time.
>
I have noticed that one company has produced a series of patterns
(Simplicity?), mostly aimed at the teen, called "Sewing for Dummies", which
look just like all the how-to books for computers in the "--- for Dummies"
series. Not all the patterns are for teens, and I would hope that non-sewers
would use these to improve on their skills. Then again, as written before, a
non-sewer might not know that these patterns are available.
 
> 
> I think that we are all frustrated by this. We see the options for
> home sewers and teaching home sewers diminishing and yet the people
> who would benefit from it the most are leaving it to private
> individuals in small companies to do it for them. Consequently,
> people who don't have access to anything but the Big 3 don't get
> educated and don't buy even Big 3 patterns. It's a downward spiral
> that is impacting on all of us.
> 
> Kat
> <kat@redtrollforge.com>

I agree with this also. And I find that my daughters don't want to learn
from me, especially the 17 year old. Moms are usually idiots when it comes
to teaching.  Thank goodness there are fabric stores out there willing to
give sewing classes from the very basics to fancy tailoring where people
with an interest can learn. In Berkeley CA, one of the best places to learn
is Stone Mountain and Daughter, and I'm sure there's a place like this in
most cities. Someone mentioned that many sewers would rather learn to make a
quilt where no fitting is required. Quilts are a good start on learning -
following a pattern, color, fabric types, accurate seams, grainlines.

Just some thoughts.

LynnD

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Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
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Actually, the quality of commercial sewing instructions has improved a 
lot since the 1930s. The entire history of the commercial pattern 
industry, since its inception in the early 19th century, has been a 
series of attempts to improve ease of use by, and therefore sales to, 
amateur dressmakers.  Ease of use has typically included the issues of 
fit and the quality (and length) of pattern instructions.

As for how they taught sewing in the "good old days::  The skills of a 
seamstress were considered important for most females up until the 1920s 
or so (when ready-to-wear clothing had become more common than custom 
made). Girls were taught at home, but also at achool if they went to 
school, and in public schools as well as fancy boarding schools.  I have 
a number of late 19th- and early 20th-century manuals that consist of 
lesson plans (what material to present and the words to present it in) 
and simple patterns (little aprons and suchlike) for teaching young 
children.  My own mother learned basic sewing (even a little embroidery) 
as a child in public school.

Note that dressmaking skills were considered higher level than 
seamstress skills.  Seamstress skills included basic stitches and seams, 
and making underclothing (typically loosely fitted) and household 
linens. Dressmaking skills included the ability to design (plan) 
dresses, to draft a pattern or drastically alter the style and fit of 
one as needed, and to fit dresses stylishly.  Home dressmaking became 
much more popular after the adoption of the sewing machine. Not all 
seamstresses had dressmaking skills. But many wanted them, either to 
make clothes at home more cheaply, or for a living after being widowed 
or otherwise thrown on the world with few skills.  The paper pattern 
industry was one way to fill the gap, as were magazines with dressmaking 
articles and patterns, dressmaking manuals, and a variety of 
19th-century pattern-making devices such as the "chart" (which enabled 
the user to trace a "sloper" of any size).

As for dressmaking classes (more what we now think of as Home Ec), they 
were taught in schools by the 1920s, and continued to be taught 
until--I'm not sure when, maybe the last 10 years or so?  The dominance 
of the ready-to-wear industry, and the fact that few women are career 
housewives any more, has made them inessential. Personally, my junior 
high home ec sewing and cooking classes almost put me off both for life. 
They were quite as much about forcing the girls into their proper role 
of Womanhood as about teaching any skills. I remember being 12 years old 
and being drilled about how I should "care for my husband and children."

I think that this severe decline in home dressmaking might well have 
happened earlier than it did, because ready-to-wear, as I said, was so 
widely worn by the 20s.   The Great Depression kept home sewing alive 
because people desperately needed to make ends meet. World War 2 kept it 
alive because rationing made it hard for them to get anything to wear. 
By the 1950s people were tired of making do and mending. Home sewing 
seems to have been almost a dirty little secret, with 1950s manuals 
telling the sewer her friends would think her clothes were actually bought.

The revival of all kinds of fiber arts in the 1970s changed the image 
primarily to one of creative self-expression. (Self-expression has 
always been given as one reason to home sew, but previously the dominant 
reason seems to have been economy.) The self-expression image has stuck 
around; it's what gets people buying $5,000 sewing machines they don't 
know how to use and storing pounds of fabric they'll never have time to 
use. But people still aren't as interested in sewing as they were in the 
1970s, let alone the 19th and early 20th centuries.

Anyway, to get back to the modern large paper pattern companies--I think 
their instructions are better now than in the 1930s and 1940s.

As for fit, commercial pattern companies have always had a bit of an 
image problem there. A major selling point has always (even 
traditionally) been that the pattern fits. If you buy the right size you 
don't have to alter it, or at most any alterations are easy.  Also, 
these days both ready-to-wear and pattern companies get around some 
fitting issues by promoting loosely fitted styles.  Yet, no size pattern 
can possibly fit every body type. 

The big pattern companies each used to publish a sewing manual that 
discussed fitting (among other things) in more detail. I have old 
editions of these manuals; have the companies kept them up?

I don't make modern clothes any more because they're not very 
interesting to sew. Although I'm thinking about starting again, since 
for several years the redy-to-wear selection has been very unappealing 
to me.  Anyway, I wish the pattern companies would put out more petite 
styles--that is, for short people. I am pretty close to an average shape 
as modern pattern companies see it, if I adjust the waist, skirt, and 
sleeve lengths. (I even have to adjust the length on petite patterns.) 
But necklines, patch pockets, things like that tend to look out of 
proportion, too big, in the wrong place. Sure, I can rework all that 
but--isn't the point of buying the pattern that you don't need to draft 
it?  For what I hope will be quickie projects that will get me something 
to wear that isn't either black or charcoal gray, there's only so much 
trouble I want to take.

Fran

<Snip>


>t think they have kept up with the changes in their targeted customers.  The basic form of purchased patterns has been the same for quite a long time; certainly I have some patterns from the teens that, with the exception of using punched out holes to mark darts, pleats, etc., on the tissue, are virtually unchanged in presentation and approximate level of instruction.  But I'd venture a guess that when our mothers and grandmothers learned to sew--or at least when my own did--they were coming from a not-too-distant past of highly fitted, boned and tucked style of clothing that required lots of measuring and altering in order to fit decently--and I'm not talking about the professionally produced garments, but the clothing that was made at home using commercial patterns.  
>My own mother hated to sew, but she knew how and although the things she stitched for us were simple (tent dresses, shifts, shorts, jumpers) she ALWAYS measured us carefully and would alter the patterns with newspaper and tape (!) when needed.  Of course, she learned from my grandmother, who was in the Ladies Garment Workers Union, but (and I'm positing here) I'm willing to bet that her experience wasn't that much different from other women in the '30s and '40s--they were taught to sew one-on-one by someone who knew how.
>Contrast that with the way I learned to sew.  Actually, my mother sort of taught me, but I had actual instruction in the 7th grade--one semester of required "home ec" in the LA CIty school district.  
>  
>
<snip>

-- 
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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The website is still up, at
http://www.montgomerie.demon.co.uk/enghood/enghood1.htm
I wouldn't claim this is the way real gable hoods were made, but it 
comes out with the right look.

I'm sorry, I have lost the electronic pictures of the MOL wires.

Jean

kat@grendal.rain.com wrote
>
>> Anyone have any further info on Tudor gable headdresses? I have a
>> Tudor dress based on Jane Seymour's artwork, and would love to enhance
>> it further with the right hat.
>
>Jean Waddie had (I haven't looked recently) an excellent website with
>directions for making a gabled hood. She also had (at one point,
>although I don't remember if it was on the website or one she sent
>me) pictures of a couple of the wires from the MOL. (I have a full
>set of ones that I shot in a private appointment, but I told them I
>wouldn't give it out in any sort of publication. And since I want to
>go back and do another appointment someday, I don't want to
>accidently piss them off.)
>
>Kat
><kat@redtrollforge.com>
>
>
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>Be fair.  Period Patterns and Truly Victorian are considered excellent
>historical pattern companies and even _they_ don't go into the level of
>detail that you've just enumerated.  There's no reason to hold Simplicity
>to a higher standard than the specialty pattern companies.
>  
>
For hardcore historic costumers, an entire book accompanying each 
pattern might not say enough.

But "what reenactors want" depends on the individual reenactor. Many are 
beginners or not that committed to reenacting. And there are many who 
want to reenact primarily to pursue activities not related to costume.  
They just want to wear something plausible so they can enjoy the event 
or pursue those other activities.  

There is room for both types of reenactor and for products geared to 
both types.

Fran

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Be fair.  Period Patterns and Truly Victorian are considered excellent
historical pattern companies and even _they_ don't go into the level of
detail that you've just enumerated.  There's no reason to hold
Simplicity
to a higher standard than the specialty pattern companies.
>>>>
Why not?  I do.  =)

Kass McGann
Reconstructing History Patterns

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<snip>
> 
> Hope to meet some h-costumers there... Anyone up for putting a red "H" on
> your badges?
> 

I'll see if I can find a stamp or sticker or something. :-)

Eirene
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Subject: [h-cost] Big Three Rants
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One thing I notice with Big Three patterns is that every element has a 
pattern piece--including huge rectangles for skirts.  Need to find more room 
in the pattern envelope?  Teach how to measure and rip rectangles in the 
instructions, and skip printing the pieces.  (I know, not likely to happen. 
LOL)

I don't consider patterns the be-all, end-all of instruction: that's what 
sewing books are for.  With the good old Reader's Digest Sewing Encyclopedia 
(circa 1965-ish) and my mom's old New Home, I managed to teach myself to sew 
at age nine.  I used patterns only for sizing (and only until I learned 
draping at 14).

No real solutions from me, I guess.  Martha's patterns are a huge leap 
forward for the Big Three, but can't go as far as, say, Past Patterns, 
because of the limitations of bulk production on that scale.  They're 
excellent costume patterns, but don't quite make the jump to fully historic 
patterns for me, mostly because of the modern things Simplicity inserted 
into the original designer's work--like snaps.  :-(  Having on-line 
documentation would be great, but a person still needs to be doing their own 
research to make sure the item is appropriate for THEM, not just for the 
era, if they are wanting fully accurate historic clothing.

Regards,
Elizabeth
http://www.elizabethstewartclark.com

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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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Hi Hope,

I found your different technique interesting, especially the way you 
manage to get the box at the back.  My full frame was partly designed 
for robustness in transport, because an earlier version did end up a bit 
battered after a while.

Am I reading your instructions for the tails right, that they are just 
sewn on the bottom edge of the box?  The pictures I have seen of the 
back of a hood all seem to show seams across the diagonals of the box. 
Or is that something you were planning to tackle in the second version?

Jean


Hope Greeenberg <hope.greenberg@uvm.edu> wrote
>I didn't take a picture of the gable wires at MOL but did a sketch 
>which you can find here:
>http://www.uvm.edu/~hag/sca/tudor/frame1.gif and
>http://www.uvm.edu/~hag/sca/tudor/frame2.gif
>
>The wire looked very much like that used for wire hangers, perhaps a 
>bit lighter--think cheap wire hangers from the dry cleaner.
>
>You'll also find there (http://www.uvm.edu/~hag/sca/tudor/gable.html) a 
>collection of gable headdress images, and the beginnings of some 
>instructions. Based on the wires, I came up with a rather different 
>method of construction that Jean Waddie's. If you are careful about the 
>proportions/measurements around your face you will get a very good 
>fitting headdress, though I'm rethinking the design now a bit. Maybe 
>some day I'll finish that page...
>
>- Hope
>
>
>_______________________________________________
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-- 
Jean Waddie
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Subject: Re: [h-cost] You have the ear of Simplicity
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>I completly agree with the idea of a complete size chart. That would 
>be fantastic! I measure the pattern tissue for several additional 
>numbers before I sit down to alter it.

Call me foolish, but I've always wondered why, instead of having 
"sizes" that there weren't cutting lines for measurements.   You 
know, like "bust 32 cut here"  "hip 35 cut here"  waist 30 cut 
here"......

Maybe with a Size 10 bold line, and the others floating around it. 
That way you wouldn't have to guess the ease, or what the fit model 
really looked like.  ;-D

Rima
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Subject: Re: Re: [h-cost] re. pattern wish list
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>Ooh and the men's Regency stuff! You see the Georgian and
>Victorian sometimes but rarely the Regency. I have some gowns
>for myself, but have no idea how to do something for my
>husband.... not that we have anywhere to wear it now that we
>live in Atlanta... but still, I want it!
>
>Teena


OOOOOO and RESTORATION stuff!    The only Restoration pattern I know 
out there is Richard the Thread, and I didn't get great results with 
it.....

Guess I'll have to draft that one myself too.... unless someone knows 
a pattern out there that can rescue me!

Rima
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>Greetings all...
>
>It's only recently that I've started to make historical clothing for 
>others.  Until now I've only made historical clothing for myself. 
>And in making for myself I always drafted my own patterns.  With 
>this new branch devleoping,  I've tried a couple of patterns - and 
>tried to help one lady rescue her project that went badly awry. 
>Having dealt with different pattern companies sizing methods, 
>pattern variations and the like,  I've come to be firmly in the 
>'draft my own' category.   Over the past months I've discovered it 
>is definately worth my time to draft the pattern for each body... 
>rather than try to sort out someone elses.
>
>Just my preference.
>Bridgette / Mari

I've had exactly the same experience.  I own every historic pattern 
there is, but end up drafting my own, for myself and for other 
people....   I know ONE person on this planet who is an exact size 
10.    Everyone else is weird and lumpy like me.  ;-D    NOBODY makes 
a pattern for 32-27-39 with a 14 inch back waist length  ;-D    And 
altering them doesn't really do the trick, or at least I'm not 
skilled enough to make the alterations work.   I do better if I draw 
from scratch.

Which brings me to my REAL question.   A couple of years ago I was on 
this list, and someone mentioned that they were writing a "Geometry 
for Non-Pro Pattern Makers" book.    I NEED this book!    Please 
please, if you're out there, and you've published, let me send you 
money!  ;-D   Or if you're still in process, can I please be your 
proof reader???

I've gotten pretty good at freehanding a sleeve cap to fit an 
armhole, but wouldn't it be better if I could just do the math?????

Rima
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To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] fulling wool?
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Sue Clemenger wrote:

>I realize I'm rambling <g>, but I've recently gotten interested in
>things fibrous, as I'm learning to spin, and finding out all about the
>different processes you put wool through to make it a woolen or a
>worsted, not to mention preferred types of wool and all.  Does anyone
>happen to know if modern commercial worsteds react to washing and
>fulling and dyeing and whatnot (procedures involving water) in the same
>ways that historical worsteds would have?

Oh yeah.... spinning and weaving definitely changes your point of view!!!!

One of the sneaky things about wool in commercial clothes is that a 
lot of it is now "superwash".   This means that the wool has been 
basically soaked in plastic, and the fibers are now coated, so their 
little hooky shafts won't felt any more.   This is why some modern 
wools are "washable".   It also changes their feel, so they're not as 
scratchy, and makes "woolen" wools not quite so "wooley".

>--sue, who eventually wants to spin and weave her own yard goods for
>historical costume....

Damn, you're ambitious..... it's taken me two years so far to spin 
yarn for a blanket I wanna make.  Granted, it's gonna be at 30 epi, 
and I need almost 10,000 yards.....   and I'm not there yet.....

Rima
*I'm BAAAAACK*  after too long an absence....
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References: <BBB2DEDD.10AA%LDownward@chori.org>
Subject: invisible zips Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
Date: Thu, 16 Oct 2003 12:28:39 +1300
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> I'd like to have that URL too. I've never found the right attachment to
get
> the da** invisible zipper foot to fit my machine so I've always put them
in
> by hand. It never stopped me, but it would certainly be faster to insert
> zippers by machine.


I just use a piping foot and hold the teeth down manualy. It's actually
really easy, unfortunately I'd need someone else to take photos while I sew
for me to do a step by step on the net;)

It does also mean the bulk of the fabric goes under the arm of the sewing
machine, but even with 40cm zips (erm... 16" zip I believe) this is fine.
I've just done two on two very bulky dresses with no trouble regarding the
fabric getting annoying.

I've done a grand total or four like this in the last year, not a lot to be
sure, but with the big gaps between doing them I didn't have much practice
and still remembered how to do it.

I have no idea how close the attachments get the seam to he teeth, but I can
get it so the zip really is invisible, unless you pull very hard and then
you only see the teeth not the fabric of the zip.

Speaking of which, I can only buy decent invisible zips from one place here
now. Spotlight and the big fabric comany in New Market (Auckland, New
Zealand) sell those horrible open nylon things that look like they'd rip
before the teeth give out.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Museum photography &c was V&A exhibition
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Sue,

How odd. I asked at Bath, and they said it was OK without flash. No photos
were allowed of the assembly rooms, though (how fantastic are they?). I took
a few photos, only of the early pieces (16&17th c). Some are dark, but
they're digital, so I'll see how they lighten with Paintshop.

I was also knockd out by the Cheapside hoard. I was particularly impressed
with the cuts on some of the stones - I'm sure that people have told me in
the past that some of those cuts weren't around till the 19th century...
They have a book on it, but on a quick flick through the approach seemed to
be more in the jewelry collection mode rather than from a historical
viewpoint. I may still get a copy - probably should have but I was grumpy
from the photo-ban and lack of documentation in the museum and wasn't going
to part with that much $AUS for a small book. Maybe I'd been all booked out
that day - we spent a couple of hours in the Guildhall Library - they have
an amazing collection of books on London - including histories of the
Guilds, manuscripts, documents - they've just done a move and a lot of their
documents are still in boxes, but it should be sorted in a year.

Glenda.

----- Original Message ----- 
> The Costume Museum in Bath had a similar policy, but their explanation
> was "security reasons."  (Someone using some sort of camera to take note
> of where the cameras were and such, I guess.)
> My digital camera even has a museum setting (non-flash), but it was
> still no-go at either place...
> I wasn't asking to take a picture of one particular item, I must admit
> (because when I asked, I didn't know what I'd be seeing).  In
> retrospect, I believe the stuff I was particularly interested were part
> of their permanent collections.  My friend Jane went particularly nuts
> over the Cheapside Horde....
> --sue
>

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On Wed, 15 Oct 2003 15:41:28 -0700 Rima <rima@anet.net> writes:
> 
> OOOOOO and RESTORATION stuff!    The only Restoration pattern I know 
> 
> out there is Richard the Thread, and I didn't get great results with 
> 
> it.....
> 
> Guess I'll have to draft that one myself too.... unless someone 
> knows 
> a pattern out there that can rescue me!
> 
> Rima
 
Ironically, for Restoration there's actually a commercial pattern that
looks pretty good but it's for men. It's Butterick #6844. It's marketed
as a clerical cassock, but the lines are perfect for men's restoration if
you shorten the hem a bit.


Karen

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Date: Wed, 15 Oct 2003 17:58:02 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses,
 was V&A 'Gothic: Art for  England 1400-1547' exhibition
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At 12:16 AM 10/15/2003 -0700, you wrote:
>When I was pregnant with my 19-year-old, I did a maternity gown like one 
>in the Thomas More family drawing.  I did a gable headdress for it, and 
>liked how it looked, but don't have a digital camera with which to take 
>pictures of it.  Do you have a specific question?


Just wanted to know how to make one. I found the info online. Thanks for 
the offer!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
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At 11:24 AM 10/15/2003 -0700, you wrote:
>In Berkeley CA, one of the best places to learn
>is Stone Mountain and Daughter, and I'm sure there's a place like this in
>most cities.


I so wish. The stores around here give classes on quilting, home dec, and 
crafts. The one time I saw a class listing for basic sewing, it was during 
the morning hours, I guess for people who have nothing to do during the 
day. Definitely not for people who work, or people who take care of kids 
during the day.

Kimiko



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Date: Wed, 15 Oct 2003 18:21:41 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses
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At 11:53 AM 10/15/2003 +0100, you wrote:
>The website is still up, at
>http://www.montgomerie.demon.co.uk/enghood/enghood1.htm
>I wouldn't claim this is the way real gable hoods were made, but it comes 
>out with the right look.
>
>I'm sorry, I have lost the electronic pictures of the MOL wires.
>
>Jean


Hi Jean,

Yours is the first one I found last night, and I got all the pages and 
printed them out. I hope to start working on the hood in a few weeks, after 
I finish a glove making class.

I am glad you based yours on Jane Seymour's portrait, because that is 
exactly the portrait I based my dress on. We are currently doing Henry VIII 
about Anne of Cleaves time, 1543-5 or so? Jane is dead, so I kinda feel odd 
wearing her style of dress done in blues, but at least it is the right time 
period.

I do like how you have very clear photos of the process, including the 
measurements for the linen and wires. I read through them quickly last 
night, and the directions seemed rather clear. When I get started on it, I 
may email you if I have any questions, if that's ok.

Thanks!!

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses,
 was V&A 'Gothic: Art for  England 1400-1547' exhibition
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At 09:01 AM 10/15/2003 -0400, you wrote:
>I didn't take a picture of the gable wires at MOL but did a sketch which 
>you can find here:
>http://www.uvm.edu/~hag/sca/tudor/frame1.gif and
>http://www.uvm.edu/~hag/sca/tudor/frame2.gif
>
>The wire looked very much like that used for wire hangers, perhaps a 
>bit  lighter--think cheap wire hangers from the dry cleaner.
>
>You'll also find there (http://www.uvm.edu/~hag/sca/tudor/gable.html) a 
>collection of gable headdress images, and the beginnings of some 
>instructions. Based on the wires, I came up with a rather different method 
>of construction that Jean Waddie's. If you are careful about the 
>proportions/measurements around your face you will get a very good fitting 
>headdress, though I'm rethinking the design now a bit. Maybe some day I'll 
>finish that page...
>
>- Hope


Hi Hope,

I found this site last night, when I went looking for French Hoods, for 
some reason I can't recall. I also printed out the instructions, to do a 
compare and contrast with Jean's instructions. I didn't have time by then 
to read it all, but I liked the layout with it all on one page for 
printing. I also liked your sketches of the wires, it was very helpful to 
see the possible originals.

I do hope you will finish the page.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Thu, 16 Oct 2003 12:37:07 +1000 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
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Subject: [h-cost] Hose/Stockings
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Greetings all,

I've recently started receiving digests again after a long time away from the list, so in asking
the following question please forgive me if it takes me a while to reply to any help I am,
undoubtedly, going to receive! :)

I'm wondering if anyone can tell me when sheer or sheer-ish silk hose/stockings first appeared?
Also, I have so far discovered that crape/crepe weave in silk may have been referred to as curled
cypress/cipers/sypers in the sixteenth century. Can anyone supply anything more substantial than
that? I have some silk crepe I would love to use for something documentable to the 1500s
preferably. :)


Bella
The Realm of Venus
http://realmofvenus.renaissancewoman.net


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- Looking for more? Try the new Yahoo! Search
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Subject: Re: [h-cost] Hose/Stockings
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Bella wrote,
>I'm wondering if anyone can tell me when sheer or sheer-ish silk 
>hose/stockings first appeared?

      I research stockings, but primarily 18th century and not much 
beyond the early 19th.  I see sheers in collections starting in the 
1920s.  I don't know if this is when they first appeared, though.

      In the early 19thC, there was a sort of contest between how fine 
cotton could be spun and how fine a knit could be made.  I have a 
pair of cotton hose that are not completely opaque, and they're about 
1840.

      -Carol
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I concur with Christine in Dayton! I would love to see some little girl's
stuff -- Regency, 1860s, 1840s, Kate Greenaway-style, 1950s -- ANYTHING!
When my daughter was younger I wanted to make her historical-style Easter
dresses to use as dress-up clothes later on, but I couldn't find anything in
the pattern books (except the odd Little Bo Peep costume) and I didn't
really want to go the expensive completely historically accurate look. I
altered a pattern for a "historically inspired" dress for her First
Communion, and that was about all I was good for.

Also, girl's costume patterns available in 18-inch doll clothes versions,
for matching outfits.

Gail Finke


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Re: [h-cost] re. pattern wish list
Date: Wed, 15 Oct 2003 23:09:26 -0400
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Rima wrote:  
<<OOOOOO and RESTORATION stuff!    The only Restoration pattern I know 
out there is Richard the Thread, and I didn't get great results with 
it.....
Guess I'll have to draft that one myself too.... unless someone knows a
pattern out there that can rescue me!>>

All depends on how soon you need the pattern and how long you're willing
to wait.  My company is definitely planning on doing patterns for
Restoration era historical clothing.  But I have to slog through the ECW
and Irish patterns first.  =)

Karen wrote:
<<Ironically, for Restoration there's actually a commercial pattern that
looks pretty good but it's for men. It's Butterick #6844. It's marketed
as a clerical cassock, but the lines are perfect for men's restoration
if you shorten the hem a bit.>>

This is a nice pattern, but I don't see how it looks like a Restoration
era garment, Karen.  These are Restoration era men's outfits (short
doublets and petticote breeches):
French -
http://costumes.org/history/17thcent/mensfashionplates/manpetticoat1665.
gif
English -
http://costumes.org/history/17thcent/mensfashionplates/habitofaman.jpg

Kass

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
Date: Wed, 15 Oct 2003 20:13:17 -0700
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Just a random observation inspired by Fran's comments on the development of
the pattern industry... I was recently reading an article on the clothing of
women's college students in the late nineteenth century, and the article
pointed out that most students had their clothing cut (which would
presumably include drafting/altering the pattern) by a professional
seamstress.  Then the students would take those cut pieces and sew them
together themselves.  Which means that even back in the era when women WERE
taught to sew, one-on-one, fit was still considered the most difficult part
of the equation.

- Kendra
http://demode.tweedlebop.com

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Subject: Learning to sew was: Re: [h-cost] YET More on the Whole Big 3 Pattern
	Thing
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> We too had home ec in junior high school (40+ years ago before home ec was
> politically incorrect)

We had home ec. in high school, that was in the late 1990's. We did a pair
of boxer shorts. We learned how to sew a straight seam, and that's about it.
I didn't learn anything there - my mother had already taught me that when I
was helping her sew my Halloween costumes.

> I agree with this also. And I find that my daughters don't want to learn
> from me, especially the 17 year old. Moms are usually idiots when it comes
> to teaching.

I don't know what your relationship with your daughters is, but I learned to
sew with my mom. I learned a lot of things by osmosis, and then she had me
sew straight seams. And then for a couple of months I called for help when I
needed it. I still go to her when I have questions about a pattern. I found
that practice is the best way to learn - and asking questions when I'm
unsure of something. But we parted company a couple of years ago when I
decided that I didn't need a pattern to make a T-tunic :-)
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] YET More on the Whole Big 3 Pattern Thing
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Kendra wrote:
<<Which means that even back in the era when women WERE
taught to sew, one-on-one, fit was still considered the most difficult
part
of the equation.>>

Not surprising, really.  It IS the hardest bit, isn't it?  I love to fit
garments on people, but I don't deny that it's the hardest part of
construction.

We, as a society, used to value the work of professional tailors.  I
remember my Mum and Dad taking their new clothing to be altered and we
were not wealthy people by any stretch.  But now, tailoring as a common
profession is dying out, and I for one will be sorry to see the little
Italian man down the block's ("Tony the Tailor") shoes go unfilled...

Kass

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Subject: RE: Learning to sew was: Re: [h-cost] YET More on the Whole Big 3
	PatternThing
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I don't know what your relationship with your daughters is, but I
learned to
sew with my mom. I learned a lot of things by osmosis, and then she had
me
sew straight seams. And then for a couple of months I called for help
when I
needed it. I still go to her when I have questions about a pattern. I
found
that practice is the best way to learn - and asking questions when I'm
unsure of something. But we parted company a couple of years ago when I
decided that I didn't need a pattern to make a T-tunic :-)
>>>>
Hee hee!  My Mum was a garment factory worker all her life and I
honestly don't remember her teaching me how to sew -- I was that small
when it started.  

And we "parted company" too, Audrey.  Mum doesn't understand why you
can't use a dart or the kind of corset boning you can sew over.  =)

Kass

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On Wed, 15 Oct 2003 23:09:26 -0400 "Kass McGann" > 
> Karen wrote:
> <<Ironically, for Restoration there's actually a commercial pattern 
> that looks pretty good but it's for men. It's Butterick #6844. It's 
> marketed as a clerical cassock, but the lines are perfect for men's 
> restoration if you shorten the hem a bit.>>
> 
> This is a nice pattern, but I don't see how it looks like a 
> Restoration era garment, Karen.  These are Restoration era men's
outfits 
>(short doublets and petticote breeches):
> French -
>
http://costumes.org/history/17thcent/mensfashionplates/manpetticoat1665.
> gif
> English -
> http://costumes.org/history/17thcent/mensfashionplates/habitofaman.jpg

I suppose it depends on what one considers the Restoration. Obviously
it's after Charles II comes to the throne, but he sat on the throne
during a profound shift in clothing styles. The 1660's still had the very
silly petticoat breeches and short doublet, but by the 1670's there was a
longer fashion which was attributed to the Turks and known as a
'justacorp' which is almost identical to the cassock, especially if you
look at the lines of the back seams. 

Karen

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From h-costume-bounces@indra.com  Wed Oct 15 23:49:48 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Re: [h-cost] re. pattern wish list
Date: Wed, 15 Oct 2003 23:48:50 -0400
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I suppose it depends on what one considers the Restoration. Obviously
it's after Charles II comes to the throne, but he sat on the throne
during a profound shift in clothing styles. The 1660's still had the
very
silly petticoat breeches and short doublet, but by the 1670's there was
a
longer fashion which was attributed to the Turks and known as a
'justacorp' which is almost identical to the cassock, especially if you
look at the lines of the back seams. 
>>>>
Okay, I see what you mean now, Karen.  The Restoration is typically
taken to mean when Charles II was restored to the throne, and that's the
1660s.  But I see what you're going for.  Being that I couldn't see the
lines of anything in that little pictures, I couldn't tell you if you
were right or wrong.  But I assume you have the pattern and can see
them.

Me, I would have bought a long waistcoat pattern from J.P. Ryan or the
like.  An early to mid-18th century waistcoat has much the same lines as
a justacorp.  And my money goes to someone who caters to reenactors.  =)

Kass

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Subject: [h-cost] Re: YET etc., but this is it for me
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For Lynne and Kat

First: Here's a link on inserting invisible zippers using a regular zipper 
foot.  It's not the one I had bookmarked, but like many things in the ether the 
original has gone away.  This one looks pretty close, though:

<A HREF="http://www.fabric-mill.com/invisibleZipper.htm">http://www.fabric-mill.com/invisibleZipper.htm</A>

Second, I do want to assure both of you that, in fact I DIDN'T learn more 
than I thought I did from my home ec sewing teacher.  What I learned was how to 
insert a zipper--and although I do not underestimate the importance of that, 
that was exactly what I got.  I already knew how to sew straight seams and do 
casings, which was the sum total of what she taught.  Granted, we were obnoxious 
in a way that only adolescents can be, but nonetheless, that was what she 
knew; that was what she taught.  No grain lines, no bias.  Nada.  If your own 
experiences involved better teachers, I am envious, but no misty-eyed mornings 
with fond remembrances of Mrs. Sprecher and how she put me on the road to sewing 
bliss for me.  I came by the love of this hobby on my own, and I am mostly 
self taught.

As an aside to Fran, who wrote a whole lot of stuff--there are loads of 
differences between vintage patterns and modern, but I suppose I should have said 
that in my opinion, and based on my own collection of vintage patterns and my 
use of them, I don't find any significant difference in the approach and/or 
quality of the instructions for construction.  They seem to be aimed at 
approximately the same level of ability, and clarity as today--but today's patterns 
have more illustrations, which many will find useful.  I gather from your various 
posts that you work in this topic, but based on my personal experience, and 
for my needs and skill set, I see no appreciable difference.

But truly, the real point of my posts was simply to say that given all the 
variables in people's sizes, builds, etc., I cannot imagine how people would 
expect a ready-made pattern to fit right out of the envelope.

Athene
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From h-costume-bounces@indra.com  Thu Oct 16 00:16:19 2003
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Date: Wed, 15 Oct 2003 21:15:32 -0700 (PDT)
From: Jennifer Fleury <jenniferfleury@sbcglobal.net>
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Can anyone help?  One of my guild members got grease (derived from a platter of roast pork) on her silk taffeta dress.  It was not preshrunk, and the dry cleaners told her they could not get the stain out.  Any ideas?  This is a brand new dress, she's heartbroken!  Thank you for any input


Jennifer Fleury
Guild Master 2003-2004
The Guild of St. Augustine
www.guildofstaugustine.org
 
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Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
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Yes, the term "garment cutting" includes pattern design. It was not just 
pinning a pattern onto the fabric and cutting around the outline.

In the 19th century women not infrequently worked together with their 
dressmakers, with the dressmaker doing the most skilled work. Having the 
dressmaker produce a fitted pattern, then taking the project from there, 
was one way to do this. Another, popular in the eras with simple skirts, 
was to have the dressmaker make the bodice and the home seamstress would 
make the skirt.. Another custom was to have a lower-end dressmaker stay 
at the house for about a week, and the woman would sew together with her.

Fran

Kendra Van Cleave wrote:

>Just a random observation inspired by Fran's comments on the development of
>the pattern industry... I was recently reading an article on the clothing of
>women's college students in the late nineteenth century, and the article
>pointed out that most students had their clothing cut (which would
>presumably include drafting/altering the pattern) by a professional
>seamstress.  Then the students would take those cut pieces and sew them
>together themselves.  Which means that even back in the era when women WERE
>taught to sew, one-on-one, fit was still considered the most difficult part
>of the equation.
>
>- 
>

-----------------------------------------
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Historic and Vintage Dance
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I suspect because ready-to-wear has conditioned them to think they can 
walk into a store and buy some standard size that fits.   People don't 
expect a really good fit any more.

Fran

>But truly, the real point of my posts was simply to say that given all the 
>variables in people's sizes, builds, etc., I cannot imagine how people would 
>expect a ready-made pattern to fit right out of the envelope.
>
>Athene
>_______________________________________________
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>
>  
>

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At 09:13 AM 10/15/2003 -0700, you wrote:
><kat@redtrollforge.com>
>
> > And it may be that the photocopy machine uses somewhat less light than
> > a flash; I don't know.
>
>A photocopy machine actually uses a lot more light than a flash,
>unfortunately. Very hard on books!
>
>Kat
><kat@redtrollforge.com>

What is very bizarre to me is the PRO (Public Records Office) will 
photocopy documents for you?!  I found that to be mighty strange that they 
would be willing to expose 500 year old pieces of paper to that kind of 
light...

Cheers,
Danielle

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Date: Wed, 15 Oct 2003 23:43:09 -0500
To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] Museum photo policy, was: Re: V&A 'Gothic: Art
  for England	1400-1547' exhibition
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At 09:39 AM 10/15/2003 -0700, you wrote:

<snip>

>It is not your picture taking that is the problem with the light but
>having the light on in the gallery low enough not to damage the
>textiles which is not enough light to shoot most pictures. (I usually
>use the highest ASA slide film available and shoot it so that it gets
>pushed one more stop. Even then there's often not enough light.)

<snip>

>Sadly, because of misuse of information by some unscrupulous person
>(at least that's *my* interpretation on what happened), they no
>longer allow photography in many museums (including the MOL, who
>recently had a major problem which resulted in the policy change)
>under any circumstance. (Although I suspect/hope that doesn't include
>people who have made special arrangements.) This is because they need
>to protect their museum in terms of money. (The artifacts themselves
>actually do better than many people think with flash according to the
>museum people I spoke with at both V&A and MOL. It's unauthorized use
>that is making the policy change.)
>
>Kat
><kat@redtrollforge.com>

Greetings,

You can still do photography in the MOL if you make arrangements ahead of 
time and sign a waiver.  Then the guards in the area need to notified that 
you have a right to be there photographing things and you can go ahead.

It was kind of amusing, when I was last there taking photos in July the 
guard in the clothing area was fascinated with why I wanted the pictures 
and wanted to hear all about my research.  Then she went and got another 
guard so they could hear all about it too... <G>

Cheers,
Danielle

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Date: Thu, 16 Oct 2003 14:52:31 +1000 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Hose/Stockings
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> Message: 10
> Date: Wed, 15 Oct 2003 22:56:16 -0400
> From: Carol Kocian <aquazoo@patriot.net>
> Subject: Re: [h-cost] Hose/Stockings
> To: Historical Costume <h-costume@indra.com>
> Message-ID: <a05010400bbb3b85d8f55@[209.249.181.26]>
> Content-Type: text/plain; charset="us-ascii" ; format="flowed"
> 
> 
> Bella wrote,
> >I'm wondering if anyone can tell me when sheer or sheer-ish silk 
> >hose/stockings first appeared?
> 
>       I research stockings, but primarily 18th century and not much 
> beyond the early 19th.  I see sheers in collections starting in the 
> 1920s.  I don't know if this is when they first appeared, though.
> 
>       In the early 19thC, there was a sort of contest between how fine 
> cotton could be spun and how fine a knit could be made.  I have a 
> pair of cotton hose that are not completely opaque, and they're about 
> 1840.


Thanks Carol - this re-affirms my vague impression that semi-sheers were an 18th century thing.

I may not be able to make semi-sheer hose for the sixteenth century, but there are other things I
can make! :)


Bella
The Realm of Venus
http://realmofvenus.renaissancewoman.net

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
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On Wednesday 15 October 2003 08:54 am, Carol Kocian wrote:
> Cathy wrote,
>
> >This absolutely baffles me.  Why no flash, if you're willing to put the
> > item on a photocopier and expose it to equally bright light for even
> > longer?
>
>       I was baffled, myself, but was not going to argue!  Things were
> different in another department of the same museum, so it was not a
> museum-wide policy.

Interesting.
>
>       Once they had the xerox, though, they could make a second
> generation copy and not put the stocking on the copier again.  Maybe
> that was part of the reasoning.

Perhaps.  After reading some of the posts on this subject by list members with 
experience, I suspect that it's closer to the truth that the name of the game 
is protecting the specimens from frequent exposure to light by flash-wielding 
tourists.  In other words, you were perceived as a serious scholar, so the 
curator was willing to do you a special favor.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] light problems: V&A 'Gothic: Art for England 1400-1547'
	exhibition
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On Wednesday 15 October 2003 07:43 am, Cynthia Virtue wrote:
> > This absolutely baffles me.  Why no flash, if you're willing to put the
> > item on a photocopier and expose it to equally bright light for even
> > longer?
>
> It's probably an education thing.  Most of us have heard about the light
> from a flash being X times a day's exposure of sunlight, because
> tourists carry flash cameras and so it can be a problem.  It's a rare
> tourist that will carry a photocopy machine.


That's a good point; thanks for writing.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Date: Thu, 16 Oct 2003 01:10:14 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Hose/Stockings
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>Thanks Carol - this re-affirms my vague impression that semi-sheers 
>were an 18th century thing.

      No, it was 19th century - 1840 for the fine spun cotton yarn and 
the very fine knits.

      Openwork knits appeared in the late 18thC - 1790s.  It's 
different than semi-sheer, though.

      -Carol
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
Date: Thu, 16 Oct 2003 01:11:21 -0400
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On Wednesday 15 October 2003 03:20 am, michaela wrote:
> ----- Original Message -----
> From: "Robin Netherton" <robin@shell.nightowl.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, October 15, 2003 5:12 PM
> Subject: Re: [h-cost] V&A 'Gothic: Art for England 1400-1547' exhibition
>
> > On Tue, 14 Oct 2003, Catherine Olanich Raymond wrote:
> > > The MOL policy you've just described, though, is what I typically
> > > expect of museums in general.  The V&A's policy is more interesting to
> > > me because it diverges from what I thought was the norm.
> >
> > I have taken hundreds, maybe thousands of pictures in multiple museums in
> > London, Paris, Brussels, Bruges, Tournai, Ghent, Antwerp, and Madrid, not
> > to mention Chicago, Los Angeles, Baltimore, and Washington (just to name
> > the places that spring to mind first). The only place I can remember
> > where photography was not allowed was in a small private collection in
> > Madrid (Galerie Lazaro, IIRC).
>
> This has also been my experience. Though for fewer museums;) I know I was
> blown away when I was able to take photos at the Louvre in 1997. I got my
> camera into the v&a as well as a few more on the continent.
>
Very interesting.  Thanks for the information, both of you.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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To: Historical Costume <h-costume@indra.com>
Date: Wed, 15 Oct 2003 22:26:55 -0700
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Subject: Re: [h-cost] Hose/Stockings
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> I'm wondering if anyone can tell me when sheer or sheer-ish silk
> hose/stockings first appeared? Also, I have so far discovered that
> crape/crepe weave in silk may have been referred to as curled
> cypress/cipers/sypers in the sixteenth century. Can anyone supply
> anything more substantial than that? I have some silk crepe I would
> love to use for something documentable to the 1500s preferably. :)

Depending on who you talk to, it started in Elizabeth's reign in 
about 1570. They were finely knit silk. However, how shear they were 
is debatable if you have only samples such as the Eleanor of Toledo 
ones (which were red knit but seemed more like a silk pair of knee 
high weight.) If you look at some of the later Elizabethan men, they 
appear to be wearing a tight fitting hose which seems to be a finely 
knitted silk, but again, it's debatable on how sheer you would 
consider them.

As to Cypress/etc, that's a woven fabric which was much used 
especially when something rather crisp was needed (such as the front 
edge of the French Hood which could be either cypress or a fine cloth 
of gold. It is seen in gold on the front of most French Hoods and you 
can see what is probably an example since it is similar to that 
edging but in white on the front edge of the cap worn by Kateryne 
Parr in the red dress with the full gathered sleeves.)

>From what I can find, when they wore cloth stockings they would more 
likely be of plain linen rather than of cypress. If you have 
different information, please let me know so that I can update my 
women's renaissance underwear class. (Thanks in advance.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] 
	Re: invisible zips Re: YET More on the Whole Big 3 Pattern Thing
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> I just use a piping foot and hold the teeth down manualy. It's
> actually really easy, unfortunately I'd need someone else to take
> photos while I sew for me to do a step by step on the net;)

A piping foot would be very similar to the foot which you can get 
with the invisible zipper. Unfortunately, I haven't found one for my 
machine that I could afford.

Fortunately, I rarely have to use a zipper. The last one I put in was 
in a fabric jewelry rollup bag. ;)

Kat
<kat@redtrollforge.com>


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Answering two messages in one.....

> Message: 12
> Date: Thu, 16 Oct 2003 01:10:14 -0400
> From: Carol Kocian <aquazoo@patriot.net>

> >Thanks Carol - this re-affirms my vague impression that semi-sheers 
> >were an 18th century thing.
> 
>       No, it was 19th century - 1840 for the fine spun cotton yarn and 
> the very fine knits.


Oops - boo-boo. Thinking too fast and typing too slow. :)


> Message: 14
> Date: Wed, 15 Oct 2003 22:26:55 -0700
> From: kat@grendal.rain.com
 
> Depending on who you talk to, it started in Elizabeth's reign in 
> about 1570. They were finely knit silk. However, how shear they were 
> is debatable if you have only samples such as the Eleanor of Toledo 
> ones (which were red knit but seemed more like a silk pair of knee 
> high weight.) If you look at some of the later Elizabethan men, they 
> appear to be wearing a tight fitting hose which seems to be a finely 
> knitted silk, but again, it's debatable on how sheer you would 
> consider them.

Yep, I know about the knit ones. Luckily I didn't get my hopes up about semi-sheer hose. :)


 
> As to Cypress/etc, that's a woven fabric which was much used 
> especially when something rather crisp was needed (such as the front 
> edge of the French Hood which could be either cypress or a fine cloth 
> of gold.<snip>


This is confusing to me, because curled cypress has been equated with crepe, and crepe is
definitely not crisp. If you could give me a direct quote about curled cypress it would be much
appreciated.


> >From what I can find, when they wore cloth stockings they would more 
> likely be of plain linen rather than of cypress. If you have 
> different information, please let me know so that I can update my 
> women's renaissance underwear class. (Thanks in advance.)


Nope, sorry, I wish I had different information so I could help you with that. I asked because I
wanted to know what there is to learn about curled cypress/crepe. Thanks! :)


Bella

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Subject: Re: [h-cost] Hose/Stockings
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Answering two messages in one.....

> Message: 12
> Date: Thu, 16 Oct 2003 01:10:14 -0400
> From: Carol Kocian <aquazoo@patriot.net>

> >Thanks Carol - this re-affirms my vague impression that semi-sheers 
> >were an 18th century thing.
> 
>       No, it was 19th century - 1840 for the fine spun cotton yarn and 
> the very fine knits.


Oops - boo-boo. Thinking too fast and typing too slow. :)


> Message: 14
> Date: Wed, 15 Oct 2003 22:26:55 -0700
> From: kat@grendal.rain.com
 
> Depending on who you talk to, it started in Elizabeth's reign in 
> about 1570. They were finely knit silk. However, how shear they were 
> is debatable if you have only samples such as the Eleanor of Toledo 
> ones (which were red knit but seemed more like a silk pair of knee 
> high weight.) If you look at some of the later Elizabethan men, they 
> appear to be wearing a tight fitting hose which seems to be a finely 
> knitted silk, but again, it's debatable on how sheer you would 
> consider them.

Yep, I know about the knit ones. Luckily I didn't get my hopes up about semi-sheer hose. :)


 
> As to Cypress/etc, that's a woven fabric which was much used 
> especially when something rather crisp was needed (such as the front 
> edge of the French Hood which could be either cypress or a fine cloth 
> of gold.<snip>


This is confusing to me, because curled cypress has been equated with crepe, and crepe is
definitely not crisp. If you could give me a direct quote about curled cypress it would be much
appreciated.


> >From what I can find, when they wore cloth stockings they would more 
> likely be of plain linen rather than of cypress. If you have 
> different information, please let me know so that I can update my 
> women's renaissance underwear class. (Thanks in advance.)


Nope, sorry, I wish I had different information so I could help you with that. I asked because I
wanted to know what there is to learn about curled cypress/crepe. Thanks! :)


Bella

http://personals.yahoo.com.au - Yahoo! Personals
New people, new possibilities. FREE for a limited time.
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At 09:15 PM 10/15/2003 -0700, you wrote:
>Can anyone help?  One of my guild members got grease (derived from a 
>platter of roast pork) on her silk taffeta dress.  It was not preshrunk, 
>and the dry cleaners told her they could not get the stain out.  Any 
>ideas?  This is a brand new dress, she's heartbroken!  Thank you for any input
>
>
>Jennifer Fleury


Hi Jennifer,

I am not much on grease stains on silk, but I was wondering if she had 
remnants of that silk. If she does, maybe she can reproduce the grease 
stain on the remnants, then test various methods of grease removal on that 
first, to see if it shrinks or does any damage to the silk.

My own experience of grease is sometimes it can be removed via Zout, or 
Kids 'N' Pets, both of which I buy at Wal-Mart.

Good luck!

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: [h-cost] stockings
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>Date: Thu, 16 Oct 2003 14:52:31 +1000 (EST)
>From: Bella<bella_lucia_da_verona@yahoo.com.au>
>Subject: Re: [h-cost] Hose/Stockings
> > Bella wrote,
> > >I'm wondering if anyone can tell me when sheer or sheer-ish silk
> > >hose/stockings first appeared?
> >
> >       I research stockings, but primarily 18th century and not much
> > beyond the early 19th.  I see sheers in collections starting in the
> > 1920s.  I don't know if this is when they first appeared, though.
> >

As an aside my mom was a mardigras maid in a small town around 1939 the 
maids were representatives of local companies who contributed to their 
costumes.  Her sponsoring company was a hose company  thier contribution was 
a new type of hose.  I'll have to ask what they were but something "amazing" 
then.
Maddalena

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
  England 1400-1547' exhibition
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>http://www.montgomerie.demon.co.uk/enghood/enghood1.htm
>I wouldn't claim this is the way real gable hoods were made, but it comes 
>out with the right look.

I made my "turban" wrap around my head underneath, to hide my hair.  The 
one in the illustration has visible edges next to the wearer's face.  And I 
didn't use a frame, or stiffening, for the gable part, relying entirely on 
the thickness of the materials I used and the jeweled bit on the front.  (I 
did stiffen the two white "side-wings", with parts cut from the corners of 
a plastic milk carton.

Interesting how several of us have looked at the same portrait and drawn 
different conclusions as to how this garment was made.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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>>> glendar@compassnet.com.au 10/16/03 12:35am >>>wrote:
[snip]
>I was also knockd out by the Cheapside hoard. I was particularly
>impressed with the cuts on some of the stones - I'm sure that people
have >told me in the past that some of those cuts weren't around till
the 19th >century... 

I took a good look at the Cheapside Hoard when our music group played
at the MOL in January. I'd found so little evidence elsewhere of what
kind of jewellery middle-class women would have worn in the early 17th
century. I didn't think of taking photos, though I did take a couple of
snapshots of the musicians (not very successful because done in a hurry
as we were about to start playing). A Google search on "Cheapside Hoard"
brings up several sites with photos, though, including one of Nicole's.

Kate Bunting
Library, University of Derby
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> I made my "turban" wrap around my head underneath, to hide my hair.  The
> one in the illustration has visible edges next to the wearer's face.

This is what I've been mulling over lately. I'd always thought of it as a
separate layer, as it does seem to form to the face. And caps and
headdresses of various times and places seem to involved much pinning of
separate pieces.

I was wondering if there was a linen cap, then the striped silk piece
wrapped around the head and pinned with the gable hood on top of that,
pinned to the turban type wrap. The wrap would give much internal support,
and possible help hold up the back if long enough. Hair is all well and
good, but women did need their hair cut off on occasion, fevers for one, and
the sketch of Anne Bolyen (recently suggested it is her, I'm still not
convinced, there is another portrait I think shares her features, but I'm
not an expert;) ) shows a cap that doesn't seem to be holding a lot of hair
under it.

PS, read both pages and this one:
http://www.ninyamikhaila.com/englishhood.html

As I've been interested in them recently too. Actually the last bears a
striking similarity to the pattern in Evolution in Fashion. i must pull that
out to make a test...

michaela
http://costumes.glittersweet.com


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From: Katy Bishop <vintage@shore.net>
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Subject: [h-cost] wine stain on silk
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I just got an email forma customer that red wine was spilled on the silk
organza over china silk gown I mad efor her.  Any suggestions as to how
to get the stain out?

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: "Kate Pinner" <pinner@mccc.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.GSO.4.44.0310160903370.6263-100000@shell3.shore.net>
Subject: Re: [h-cost] wine stain on silk
Date: Thu, 16 Oct 2003 09:19:42 -0400
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A friend of mine always pours plain old table salt on red wine stains on her
tablecloths and says it works.  Never tried it myself.
Kate
----- Original Message ----- 
From: "Katy Bishop" <vintage@shore.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 16, 2003 9:04 AM
Subject: [h-cost] wine stain on silk


>
> I just got an email forma customer that red wine was spilled on the silk
> organza over china silk gown I mad efor her.  Any suggestions as to how
> to get the stain out?
>
> 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
>


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From h-costume-bounces@indra.com  Thu Oct 16 09:23:54 2003
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] wine stain on silk
To: Historical Costume <h-costume@indra.com>
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If she hasn't tried anything else yet, poor white wine
over it then cover with salt, then brush the salt off.
The red wine stain should be gone.


 --- Katy Bishop <vintage@shore.net> wrote: > 
> I just got an email forma customer that red wine was
> spilled on the silk
> organza over china silk gown I mad efor her.  Any
> suggestions as to how
> to get the stain out?
> 
> 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 

=====
Aurum peccamenes multifariam texit

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From h-costume-bounces@indra.com  Thu Oct 16 09:26:13 2003
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Subject: Re: [h-cost] silk cleaning
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Here's what a 19th century manual says about getting grease out of
clothes:


Have a hot iron with some thick brown paper; lay the paper on the part
where the grease is, then put the iron upon the spot; if the grease comes
thru the paper, put another piece, till it does not soil the paper. If
not all out, wrap a bit of cloth or flannel round the finger, dip it into
spirit of wine, and rub the grease spot; this will take it entirely out.
Be careful not to have the iron too hot; but try it on a piece of white
paper, if it turns the paper brown, or scorch it in the least it is too
hot.

Samuel and Sara Adams "The Complete Servant" 1825

(Spirit of Wine= rubbing alchohol)


Karen

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Subject: [h-cost] Fw: Delurking with fabric question
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----- Original Message ----- 
From: Terri Hirling 
To: h-costume@mail.indra.com 
Sent: Wednesday, October 15, 2003 8:27 PM
Subject: Delurking with fabric question


  
Hi to the members of the H-Costuming list, 

My name is HL Isabeau Quiquandon (Terri Hirling) and member of the SCA in the Kingdom of Ansteorra (Texas & Oklahoma) and apprenticed to Mistress Kaitlyn McKenna, OL.  I've been lurking since joining the list a couple of months ago.  I've been playing for about five years and have finally worked up the nerve to try making my first Elizabethan.  Of course, I'm starting where all "good" costumers should, with the underpinnings (chemise, corset, farthingale, & bumroll).  I want to be as period correct as possible using the correct fabric and (reed) boning as they will be A&S entries.

The fabric used for corsets/underpinnings was linen or a linen/cotton called Fustian.  Correct?  In doing prelimary research on period fabrics for underpinnings, I'm also thinking that maybe linsey-woolsey (linen/wool) may also be considered a 16th century 'period fabric'.  The reason I'm questioning the word 'cotton' in the description of Fustian is in searching the web for information I came across a post from a David Rickman (3/31/95, H- costume list) regarding the word 'cotton' and its meaning. 

I quote his email: 

"I am not sure if this is of interest to anyone, but recent discussions about the use of cotton by reenactors led me and 
others into an off the list discussion of just what the word 'cotton' meant to earlier centuries and just what forms it 
may have been used in (i.e. batting, textiles) and how commonly it was used. 

"My first indication that this was getting complicated was when Kathleen let us know that Cromwell ordered shirts of linen and of cotton for soldiers bound for the Bahamas.  I discovered from the respected early textiles expert, Nathalie Rothstein, that cotton in the 17th century was a word, much like 'flannel', which describes a weave or the surface of cloth, and not its fiber.  In fact, in earlier times, 'cotton' most often meant a woolen fabric. 

". . . reading through Florence Montgomery's 'Textiles in  American, 1650-1870' and picking Nathalie's brain, this is 
roughly what I came up with.  First Florence defines 'cotton': 

        A term used to designate certain woolen cloths from at least the fifteenth century, so one must be cautious in 
        reading the term . . . the explanation of the use of the word cotton may lien in the fact that it had also the 
        sense of nap or down, and the process of raising the nap of woollen cloths was called 'cottoning' or
        'frizzing' . . . At the end of the sixteenth century, Manchester was eminent for its woollen cloth or Manchester 'cottons'. 

". . . The point of this is not to say that what we call 'cotton' didn't exist in the 14th century, but that when we look for 
evidence of its use in the written record, we need to know that until well into the 19th century, the word probably means wool, not cotton. 

". . . I can, however, report that under 'Fustian' she tells us that it was a cotton/linen fabric, originally a linen/wool. . . . 
Fustians were made in Norwick, England as early as 1336, but these were a wool/linen mixture.  In 1554, Dutch and Walloon immigrants to England brought with them the making of 'fustians of Naples' which probably were cotton/linen, because a 1601 description of fustians says that they were made 'of bombast or Downe, being a fruit of the earth growing upon little shrubs or bushes  . . . commonly call Cotton Wooll. . . .'  "

End quote. 

What'd ya think?????

I've found one fabric source on the web, www.periodfabrics.com, with pictures samples, that carries both 50/50 Fustian @$5.00/yd. SOLD OUT and a 80/20 also @ $5.00/yd.).  They also carry linsey woolsey content unknown @ $12.00 but are also SOLD OUT).  They can't take internet orders yet so I've left two messages and sent an email, no respond on any of my inquires yet.  I'm trying to find out if they will be getting more of the OUT STOCK items any time soon.  The weave is even and appears fairly tight on both the linsey woolsey and Fustian. Does anyone who does Civil War reenactment know anything about this company?  Is there a better way to get in touch with them?  I can also get a fairly tight evenweave linen/cotton percentage unknown) from Fashion Fabrics @$5.00.

Soooo, IMHO it seems possible the fabric known as 'linsey woolesy' (used alot by Civil War reenactors) may also qualify as a late 16th century 'period' fabric if you consider the meaning of the word "cotton".  Or, am I off base here?  Comments on which would be the best choice, fustian or linsey woolsey?  Thank you, in advance, for your time and I look forward to your comments. 

My humblest regards, 
HL Isabeau Quiquandon 
(m/k/a Terri Hirling
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] silk cleaning
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I used a similar method to get candle-wax out of a wool skirt. (I'd
carried a wax torch in a procession and got showered with drips.)

Kate Bunting
Library, University of Derby

>>> seamstrix@juno.com 10/16/03 02:21pm >>>
Here's what a 19th century manual says about getting grease out of
clothes:


Have a hot iron with some thick brown paper; lay the paper on the part
where the grease is, then put the iron upon the spot; if the grease
comes
thru the paper, put another piece, till it does not soil the paper. If
not all out, wrap a bit of cloth or flannel round the finger, dip it
into
spirit of wine, and rub the grease spot; this will take it entirely
out.
Be careful not to have the iron too hot; but try it on a piece of
white
paper, if it turns the paper brown, or scorch it in the least it is
too
hot.

Samuel and Sara Adams "The Complete Servant" 1825

(Spirit of Wine= rubbing alchohol)


Karen

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] silk cleaning
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That's funny!  Here's what a 16th c. manual says about getting wax & rosin
out of clothes:

"A verie good way to take forth waxe or rosin dropt on silke, wollen, or
linnen.

Whereas ye shall have any such occasion to take forth waxe or Rosine dropt
on any silkes, or other clothes. First ye shall make a pressing yron hote,
or some silver spoone, with a cole of fire therein, take either of them
when they be hote, and first whereas any Rosin or wax is dropt, ye shall
first rubbe on the sayd droppes of waxe or rosin all over with the end of
a tallow candle, then take either your yron or spoone aforesayd, and hold
it thereon, laying a peece of browne paper betwixt your yron and your wax,
then after yee haue a little so touched it with the heate, (the waxe and
tallow will mingle together, and soke into the browne paper) then take it
off, and annoint it with the sayd tallow againe, and then hold your hote
yron, or spoone, as before, and thus ye must doe, as often as ye shal see
cause, untill it be all cleane forth. If the waxe be dropt thorow on both
sides, use the one side like the other, and so ys the spotte removed. "

(from A Profitable Boke of Dye Receipts , c. 1586 )

Brown paper and an iron...guess things haven't changed much! :)

Drea

On Thu, 16 Oct 2003 seamstrix@juno.com wrote:

> Here's what a 19th century manual says about getting grease out of
> clothes:
>
>
> Have a hot iron with some thick brown paper; lay the paper on the part
> where the grease is, then put the iron upon the spot; if the grease comes
> thru the paper, put another piece, till it does not soil the paper. If
> not all out, wrap a bit of cloth or flannel round the finger, dip it into
> spirit of wine, and rub the grease spot; this will take it entirely out.
> Be careful not to have the iron too hot; but try it on a piece of white
> paper, if it turns the paper brown, or scorch it in the least it is too
> hot.
>
> Samuel and Sara Adams "The Complete Servant" 1825
>
> (Spirit of Wine= rubbing alchohol)
>
>
> Karen
>
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From h-costume-bounces@indra.com  Thu Oct 16 10:18:47 2003
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Date: Thu, 16 Oct 2003 10:16:32 -0400 (GMT-04:00)
From: Christine Krebs-Bonder <ckbonder@earthlink.net>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Re: Learning to sew
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I had to take home ec in junior high school (which really made me mad because I really wanted to take shop but girls weren't allowed to do so in 1974 in my school district). I knew more about sewing than the teacher did because my grandmothers, mom, and several of my aunts were teaching me about sewing and making clothes from the time I was 4 years old. Unfortunately, none of them knew more than the very basic stuff about fitting a pattern so I've had to learn to do that the hard way... Everyone else in the class did these tent dresses that had a zipper in them but no shaping. I made a modified princess style dress with skirt gores and french seams (and actually lost points because I wasn't making the assigned project!). 

My 14-year-old niece took Home Living Skills 101 this past spring (I guess that's what they call home ec now) and got her "sewing machine license" (meaning that she can thread the machine, wind and insert a bobbin properly, sew straight seams and put in an ordinary zipper). She is learning to do the other stuff from her mom and me. We're talking to one of our local tailors (he's in his 70's) about the possibility of having her apprentice with him so she can learn shaping and fitting.

Heck, I might just go ahead and see if I can learn from him as well. I'd much rather give him my money than the Stitching Post that seems to think the only thing people want to learn is Martha Stewart home decor sewing...

Christine in Dayton >^..^<


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To: "Historical Costume" <h-costume@indra.com>
References: <001301c393ea$f17b5d10$0302a8c0@Isabeau>
Subject: Re: [h-cost] Fw: Delurking with fabric question
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> I've been playing for about five years and have finally worked up the
nerve to try making my first Elizabethan. Of course, I'm starting where all
"good" costumers should, with the underpinnings (chemise, corset,
farthingale, & bumroll).  I want to be as period correct as possible using
the correct fabric and (reed) boning as they will be A&S entries.

Why only reed boning? I know whalebone is not available anymore, but I also
know reeds were not the only alternative.

> The fabric used for corsets/underpinnings was linen or a linen/cotton
called Fustian.  Correct?

Yes,  but you have to add silk to that, especially for the outer layers.

I'm by no means an expert, but I'm sure some other kind souls will help you
with that one :-)
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From h-costume-bounces@indra.com  Thu Oct 16 11:30:24 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] justeaucorps skirts falling right.
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Nicole.
Wasnt you saying something about, they made a fabric joint in the skirts, to
have it fall right?
As i understand it, they only made this fabric joint because the width of
fabric then was only about 57 cm. This would make it nescesary to make a
fabric joint in the full skirt.
But it would be possible to cut a whole justeaucorps front in one piece
today, because we have wide fabrics.
It has nothing to do with the skirt falling right. It would fall just as
well, in one piece. It only has something to do with the way you have your
cut in direction of the fabric.
It was purely nescesity to make that fabric joint, not for anything to make
it fall better.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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From h-costume-bounces@indra.com  Thu Oct 16 11:35:16 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] muslin model of justeaucorps.
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Hi the list.
Is it not strange. The pattern i use, is in the same size as the original
model Gustav III.
The only alteration i had to make to make it fit me was making the armhole 1
cm. deeper and lift up the "skirt" 3 cm. No alterations in the width of
jacket. So actually Gustav III was 3 cm. taller than i am. That is a huge
man for those days, most 18th century i have seen are much smaller.

Bjarne





Leif og Bjarne Drews
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Subject: [h-cost] Re: Delurking with fabric question
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Terri/Isabeau-
I have ordered from periodfabrics.com before, by phone, and they were
friendly, accurate and prompt.  (I use them as a source of 100% cotton twill
for modern pants and jackets.)  Just call them.
                  -Helen/Aidan

It wasn't for perio
----- Original Message ----- 
From: "HL Isabeau Quiquandon" <isabeauq@ev1.net>
To: <h-costume@indra.com>
Sent: Thursday, October 16, 2003 9:39 AM
Subject: [h-cost] Fw: Delurking with fabric question



----- Original Message ----- 
From: Terri Hirling
To: h-costume@mail.indra.com
Sent: Wednesday, October 15, 2003 8:27 PM
Subject: Delurking with fabric question



Hi to the members of the H-Costuming list,

My name is HL Isabeau Quiquandon (Terri Hirling) and member of the SCA in
the Kingdom of Ansteorra (Texas & Oklahoma) and apprenticed to Mistress
Kaitlyn McKenna, OL.  I've been lurking since joining the list a couple of
months ago.  I've been playing for about five years and have finally worked
up the nerve to try making my first Elizabethan.  Of course, I'm starting
where all "good" costumers should, with the underpinnings (chemise, corset,
farthingale, & bumroll).  I want to be as period correct as possible using
the correct fabric and (reed) boning as they will be A&S entries.

The fabric used for corsets/underpinnings was linen or a linen/cotton called
Fustian.  Correct?  In doing prelimary research on period fabrics for
underpinnings, I'm also thinking that maybe linsey-woolsey (linen/wool) may
also be considered a 16th century 'period fabric'.  The reason I'm
questioning the word 'cotton' in the description of Fustian is in searching
the web for information I came across a post from a David Rickman (3/31/95,
H- costume list) regarding the word 'cotton' and its meaning.

I quote his email:

"I am not sure if this is of interest to anyone, but recent discussions
about the use of cotton by reenactors led me and
others into an off the list discussion of just what the word 'cotton' meant
to earlier centuries and just what forms it
may have been used in (i.e. batting, textiles) and how commonly it was used.

"My first indication that this was getting complicated was when Kathleen let
us know that Cromwell ordered shirts of linen and of cotton for soldiers
bound for the Bahamas.  I discovered from the respected early textiles
expert, Nathalie Rothstein, that cotton in the 17th century was a word, much
like 'flannel', which describes a weave or the surface of cloth, and not its
fiber.  In fact, in earlier times, 'cotton' most often meant a woolen
fabric.

". . . reading through Florence Montgomery's 'Textiles in  American,
1650-1870' and picking Nathalie's brain, this is
roughly what I came up with.  First Florence defines 'cotton':

        A term used to designate certain woolen cloths from at least the
fifteenth century, so one must be cautious in
        reading the term . . . the explanation of the use of the word cotton
may lien in the fact that it had also the
        sense of nap or down, and the process of raising the nap of woollen
cloths was called 'cottoning' or
        'frizzing' . . . At the end of the sixteenth century, Manchester was
eminent for its woollen cloth or Manchester 'cottons'.

". . . The point of this is not to say that what we call 'cotton' didn't
exist in the 14th century, but that when we look for
evidence of its use in the written record, we need to know that until well
into the 19th century, the word probably means wool, not cotton.

". . . I can, however, report that under 'Fustian' she tells us that it was
a cotton/linen fabric, originally a linen/wool. . . .
Fustians were made in Norwick, England as early as 1336, but these were a
wool/linen mixture.  In 1554, Dutch and Walloon immigrants to England
brought with them the making of 'fustians of Naples' which probably were
cotton/linen, because a 1601 description of fustians says that they were
made 'of bombast or Downe, being a fruit of the earth growing upon little
shrubs or bushes  . . . commonly call Cotton Wooll. . . .'  "

End quote.

What'd ya think?????

I've found one fabric source on the web, www.periodfabrics.com, with
pictures samples, that carries both 50/50 Fustian @$5.00/yd. SOLD OUT and a
80/20 also @ $5.00/yd.).  They also carry linsey woolsey content unknown @
$12.00 but are also SOLD OUT).  They can't take internet orders yet so I've
left two messages and sent an email, no respond on any of my inquires yet.
I'm trying to find out if they will be getting more of the OUT STOCK items
any time soon.  The weave is even and appears fairly tight on both the
linsey woolsey and Fustian. Does anyone who does Civil War reenactment know
anything about this company?  Is there a better way to get in touch with
them?  I can also get a fairly tight evenweave linen/cotton percentage
unknown) from Fashion Fabrics @$5.00.

Soooo, IMHO it seems possible the fabric known as 'linsey woolesy' (used
alot by Civil War reenactors) may also qualify as a late 16th century
'period' fabric if you consider the meaning of the word "cotton".  Or, am I
off base here?  Comments on which would be the best choice, fustian or
linsey woolsey?  Thank you, in advance, for your time and I look forward to
your comments.

My humblest regards,
HL Isabeau Quiquandon
(m/k/a Terri Hirling
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In a message dated 10/16/2003 11:35:29 AM Eastern Daylight Time, 
drewscph@post12.tele.dk writes:

> So actually Gustav III was 3 cm. taller than i am. That is a huge
> man for those days, most 18th century i have seen are much smaller.
> 

Maybe it was those high heels...   ;-)
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Date: Thu, 16 Oct 2003 09:02:35 -0700
Subject: Re: [h-cost] YET More on the Whole Big 3 Pattern Thing
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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You're right, Kimiko, it is frustrating to find the right classes at the
right times in most places. But one of my points was that even taking a
beginning quilting class will teach a new sewer the basics to sewing, even
if it doesn't teach them how to fit. Kinda like learning to read then write.

LynnD

On 10/15/03 6:10 PM, "Kimiko Small" <kimiko@kimiko1.com> wrote:

> At 11:24 AM 10/15/2003 -0700, you wrote:
>> In Berkeley CA, one of the best places to learn
>> is Stone Mountain and Daughter, and I'm sure there's a place like this in
>> most cities.
> 
> 
> I so wish. The stores around here give classes on quilting, home dec, and
> crafts. The one time I saw a class listing for basic sewing, it was during
> the morning hours, I guess for people who have nothing to do during the
> day. Definitely not for people who work, or people who take care of kids
> during the day.
> 
> Kimiko
> 
> 
> 
> _______________________________________________
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Date: Thu, 16 Oct 2003 09:11:01 -0700
Subject: Re: Learning to sew was: Re: [h-cost] YET More on the Whole Big 3
	Pattern Thing
From: Lynn Downward <LDownward@chori.org>
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On 10/15/03 8:15 PM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

>> We too had home ec in junior high school (40+ years ago before home ec was
>> politically incorrect)
> 
> We had home ec. in high school, that was in the late 1990's. We did a pair
> of boxer shorts. We learned how to sew a straight seam, and that's about it.
> I didn't learn anything there - my mother had already taught me that when I
> was helping her sew my Halloween costumes.
> 
>> I agree with this also. And I find that my daughters don't want to learn
>> from me, especially the 17 year old. Moms are usually idiots when it comes
>> to teaching.
> 
> I don't know what your relationship with your daughters is, but I learned to
> sew with my mom. I learned a lot of things by osmosis, and then she had me
> sew straight seams. And then for a couple of months I called for help when I
> needed it. I still go to her when I have questions about a pattern. I found
> that practice is the best way to learn - and asking questions when I'm
> unsure of something. But we parted company a couple of years ago when I
> decided that I didn't need a pattern to make a T-tunic :-)

Please don't think I'm being defensive here. My relationship with my
daughter is fine except when I try to teach her anything - cooking, crochet,
embroidery, sewing. They want to learn by within an hour we have to
separate. I'm sure it's as much my teaching style as it is my daughter's
independence and stubbornness. We get along great except for that. And she
wants to sew and I want to teach her, but it just doesn't work. I want to
get her into a basic sewing class and then answer her questions rather than
try to sew something with her.

LynnD

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From: kat@grendal.rain.com
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> I was wondering if there was a linen cap, then the striped silk piece
> wrapped around the head and pinned with the gable hood on top of that,
> pinned to the turban type wrap. The wrap would give much internal
> support, and possible help hold up the back if long enough. Hair is
> all well and good, but women did need their hair cut off on occasion,
> fevers for one, and the sketch of Anne Bolyen (recently suggested it
> is her, I'm still not convinced, there is another portrait I think
> shares her features, but I'm not an expert;) ) shows a cap that
> doesn't seem to be holding a lot of hair under it.

I agree that there was probably some sort of linen undercap. I don't 
know if it was the same one in the socalled Anne Boleyn sketc. It 
just seems too bulk. And they'd have to tuck in the cheek pieces and 
remove the neck piece at some point.

But it could have been a cap similar to the one under the French Hood 
(which would be easier to tuck in after your Gable was in place) or 
something more like the men's coif of the 12-15thC which at some 
point also began being used by women (as evidenced by the embroidered 
Spanish one from the late 16th C and perhaps related to the late 
Elizabethan embroidered coifs.)

I definitely wear a coif under my Lettice cap. In some of the 
paintings you can see a little band like edge at the upper edge 
peaking out of the smaller Lettice caps and it makes it easier for 
the Lettice cap to sit properly if it has a coif beneath it. I 
suspect it would do the same for the Gable.

However, in all the pictures I've ever found of gabled hoods, there 
is no portion of coif even partially visible. (But it could be 
completely tucked in.)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re: YET etc., but this is it for me
From: Lynn Downward <LDownward@chori.org>
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On 10/15/03 9:08 PM, "PallasAMK@aol.com" <PallasAMK@aol.com> wrote:

> For Lynne and Kat
> 
> First: Here's a link on inserting invisible zippers using a regular zipper
> foot.  It's not the one I had bookmarked, but like many things in the ether
> the 
> original has gone away.  This one looks pretty close, though:
> 
> <A 
> HREF="http://www.fabric-mill.com/invisibleZipper.htm">http://www.fabric-mill.c
> om/invisibleZipper.htm</A>
> 
Athene, 

Thanks for the links. The first is clear - makes it almost too easy. I
wasn't able to open the second one however. I've printed the first one out
and will practice this weekend.

> Second, I do want to assure both of you that, in fact I DIDN'T learn more
> than I thought I did from my home ec sewing teacher.  What I learned was how
> to 
> insert a zipper--and although I do not underestimate the importance of that,
> that was exactly what I got.  I already knew how to sew straight seams and do
> casings, which was the sum total of what she taught.  Granted, we were
> obnoxious 
> in a way that only adolescents can be, but nonetheless, that was what she
> knew; that was what she taught.  No grain lines, no bias.  Nada.  If your own
> experiences involved better teachers, I am envious, but no misty-eyed mornings
> with fond remembrances of Mrs. Sprecher and how she put me on the road to
> sewing 
> bliss for me.  I came by the love of this hobby on my own, and I am mostly
> self taught.
> 
I had learned the basic skills from my mom, but it was the first place I set
in a sleeve or made a buttonhole (bound of course, no easy way for us). No,
I have no warm and fuzzy memories of my teacher at all, poor woman.

LynnD

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Subject: [h-cost] Emboridery Supplies
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I have having the worst time finding lark quantaties of silk thread (read: floss) for blackwork at a decent prices.  Does anyone have a vendor/merchant you would like to share with me?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] Emboridery Supplies
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http://threadexpress.com/Default.asp


Very nice service.

Bjarne




Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: <Kitsune242@aol.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 16, 2003 6:21 PM
Subject: [h-cost] Emboridery Supplies


> I have having the worst time finding lark quantaties of silk thread (read:
floss) for blackwork at a decent prices.  Does anyone have a vendor/merchant
you would like to share with me?
>
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
Kenneth Cole
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From h-costume-bounces@indra.com  Thu Oct 16 12:35:56 2003
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From: kat@grendal.rain.com
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Date: Thu, 16 Oct 2003 09:35:17 -0700
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Subject: Re: [h-cost] Re: Hose/stockings
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> This is confusing to me, because curled cypress has been equated with
> crepe, and crepe is definitely not crisp. If you could give me a
> direct quote about curled cypress it would be much appreciated.

I think it depends on the crepe. Crepe refers to the process of 
overtwisting the thread before it is used in weaving. It tends to 
give a texture to the surface of the fabric, but the hand of the 
fabric depends on the actual fibres used to make it. A crepe made of 
silk and linen would feel different (and I believe be 
stiffer/crisper) than a wool crepe or polyester crepe (which are more 
like what we associate with the word "crepe.")

For reference:

M.Channing Linthicum, _Costume in the Drama of Shakespeare and his 
Contemporaries_ Oxford, 1936 (too old for an ISBN). Reference page 
118-9. 

She puts in several source from inventories and other legal 
manuscrips, as well as from literature. In the foot note she writes 
that "curled cypress" indicated that it was the crepe. Uses noted in 
these are for things like headwear, partlets, foresleeves, neckware 
and laces. No mention of hose.

There might also be some information in _The Inventories of Henry 
VIII_ edited by Starkey if you need something from an earlier point 
in the 16thC. From what I recall, their definitions and the inventory 
items containing them were pretty much the same as those in 
Linthicum.

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Thu Oct 16 12:46:30 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Thu, 16 Oct 2003 18:49:12 +0200
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Subject: [h-cost] to curve a pattern
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Hi,
I have a question i cant figure it out. I have Corel Draw, a wonderfull
computer program for everything in drawing.
If i have a pattern i want to curve a little, how do i do that?
It must be possible to do it on the puter.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] Emboridery Supplies
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What country are you in?

> I have having the worst time finding lark quantaties of silk thread
> (read: floss) for blackwork at a decent prices.  Does anyone have a
> vendor/merchant you would like to share with me?
>
> Kit
> If you walk a mile in someone else's shoes, do you get to keep them? -
> Kenneth Cole _______________________________________________
> 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: Learning to sew was: Re: YET More on the Whole Big 3	Pattern
	Thing
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> Please don't think I'm being defensive here. My relationship with my
> daughter is fine except when I try to teach her anything - cooking,
> crochet, embroidery, sewing. They want to learn by within an hour we
> have to separate. I'm sure it's as much my teaching style as it is my
> daughter's independence and stubbornness. We get along great except
> for that. And she wants to sew and I want to teach her, but it just
> doesn't work. I want to get her into a basic sewing class and then
> answer her questions rather than try to sew something with her.
> LynnD

Your experience with your daughter is not only typical but entirely 
normal. Don't blame your teaching style. She's probably at the age 
where she's trying to be an independent person as opposed to an 
appendage of the family. 

It's actually much more unusual for teens and pre-teens to want to 
have their mom teach them something. 

I think that this is at least partly because our society doesn't have 
a standard "transition" for independence from the family. There are 
so many options (marry, attend school to become a professional, go 
directly into the work force or batten down on the parental units or 
friends) that it makes it more difficult for the teen to feel the 
best way to separate other than to rebel (even if it is in such a 
minor way as not cooperating with parental teaching.)

After she's been through a few sewing classes and had her 
independence, she will appreciate your advice even more. As long as 
the parent helps them to "escape the nest" rather than preventing its 
occurrence, it doesn't take long for them to appreciate you. Before 
too many years have passed you'll be working together on projects 
where your interests in costuming coincide.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Pants question
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I just finished a pair of knee length slops and panes.  I was sort of mixing
styles since the last pair of SandP's I had were just a little too short and
tight for me to move comfortably in.  (I blame the pattern now.) 

Anyway I thought it would look nice to have the pants tie right above the
knee.  I'm not sure if that's a period way of designing it or not.  I'm sure
I've seen this used in Colonial clothing.  Since I was making the pants
loose fitting I wanted to be able to tie up whatever slack I had above the
knee.

My problem is this.  If I tie the drawsting above the knee with the leg
straigt then it's fine unless I try to bend my knee.  I can't bend my knee
deeply without the leg being very tight.  But if I tie the string with my
knee bent then the opening is wide enough that it slips down over my knee
when the leg is straight.  Now I actually got the pants length pretty much
correct so it doesn't go down that far.  But it bugs me that it won't stay
above my knee.

I'm left with several different possibilites.  I'm just wondering which one
is correct.

1.  I take a lot of ballet and dance classes so my knee muscles are built
up.  On most people this would have worked?
2.  This happens to everyone and you are just supposed to keep it loose not
tight?
3.  The pants should have been cut so that they weren't long enough to go
over the knee.  Not with an extra inch that's tied up?
4.  Pants weren't tied like that.  Either I imagined it or what I thought
were practical ties were just decoration?

Overall I'm happy with how these turned out.  For my third time with a
sewing machine I'm getting a lot of praise from mundane friends about how
fancy they are.  And they really aren't a problem.  When tied loosely they
hang to about the center of my knee.  So they are only about an inch or two
off of what I had been aiming for.  I'm just curious as to wether I designed
them wrong of what?

Thanks for any help.

Bjorn Arnaldsson
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Subject: [h-cost] Looking for a Book
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There is a book that covers the building of the Maria of Hungary dress, does anyone know which book this is?  Can you send me the info?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] Emboridery Supplies
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> http://threadexpress.com/Default.asp
> 
> 
> Very nice service.
> 
> Bjarne

 I second this recommendation!

**********************
Rebecca Schmitt
aka Agnes Cabot, wife of Master Peter Cabot
BRF FOF; Guilde of St. Lawrence

A room without books is like a body without a soul
---Cicero

lotsofteapots@charter.net
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In a message dated 10/16/2003 12:48:26 PM Eastern Daylight Time, chiara@io.com writes:

> What country are you in?

I suppose that would have helped huh?  I am in U.S.A.  however, I am willing to order from anyplace else.

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Lynn Downward wrote:
> Please don't think I'm being defensive here. My relationship with my
> daughter is fine except when I try to teach her anything - cooking, crochet,
> embroidery, sewing. They want to learn by within an hour we have to
> separate. I'm sure it's as much my teaching style as it is my daughter's
> independence and stubbornness.

I'm sure it's not your teaching.  I remember quite clearly interactions 
with my mother, when she tried to teach me (and others) CPR when I was a 
teen.  She's an excellent Biology teacher, and she and I found it very 
frustrating.  It's just a developmental stage -- for both of you!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

  Education and religion are two things not regulated by supply and
demand. The less of either the people have, the less they want.
-- Charlotte Observer, 1897
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Date: Thu, 16 Oct 2003 10:21:57 -0700
To: Historical Costume <h-costume@indra.com>
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Subject: Re: Re: [h-cost] re. pattern wish list
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>On Wed, 15 Oct 2003 15:41:28 -0700 Rima <rima@anet.net> writes:
>>
>>  OOOOOO and RESTORATION stuff!    The only Restoration pattern I know
>>
>>  out there is Richard the Thread, and I didn't get great results with
>>
>>  it.....
>>
>>  Guess I'll have to draft that one myself too.... unless someone
>>  knows
>>  a pattern out there that can rescue me!
>>
>>  Rima
>
>Ironically, for Restoration there's actually a commercial pattern that
>looks pretty good but it's for men.

oh, that's fine!  I'm a cross-dresser half the time!  ;-D

>It's Butterick #6844. It's marketed
>as a clerical cassock, but the lines are perfect for men's restoration if
>you shorten the hem a bit.

Thanks Karen!   I'll check it out!

Rima
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To: h-costume@indra.com (Historical Costume)
Subject: Re: [h-cost] More on the Whole Big 3 Pattern Thing
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In a message dated 10/14/2003 5:29:12 PM Eastern Daylight Time, PallasAMK writes:

> I'm always sort of stunned when people expect "ready made" patterns to fit.   How could they?  Just a perfunctory glance 
> at our various descriptions of ourselves 

I know that my problem was (when I used them in the past) is that I can walk into a store, try on an item and I know what I to expect from that item even before I get into the dressing room.  I have never had any two pattersn from the same company, sometimes even the same designer, that fit the same way.

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Learning to sew was: Re: [h-cost] YET More on the Whole Big
	3Pattern Thing
Date: Thu, 16 Oct 2003 13:51:56 -0400
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>Please don't think I'm being defensive here. My relationship with my
>daughter is fine except when I try to teach her anything - cooking,
>crochet,
>embroidery, sewing. They want to learn by within an hour we have to
>separate. I'm sure it's as much my teaching style as it is my
daughter's
>independence and stubbornness. We get along great except for that. And
she
>wants to sew and I want to teach her, but it just doesn't work. I want
to
>get her into a basic sewing class and then answer her questions rather
than
>try to sew something with her.

Don't worry, Lynn.  I think that's just normal.  Once I passed the age
of 13, I couldn't work with my Mum on projects anymore.  We'd just annoy
each other.  I think that's just teenagers...

Kass

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hose/stockings
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Status: RO

I've also seen reference to "curled lawn" in QE's wardrobe accounts, which
(I'm assuming) would have a texture similar to curled cypress...

Drea


On Thu, 16 Oct 2003 kat@grendal.rain.com wrote:

>
> > This is confusing to me, because curled cypress has been equated with
> > crepe, and crepe is definitely not crisp. If you could give me a
> > direct quote about curled cypress it would be much appreciated.
>
> I think it depends on the crepe. Crepe refers to the process of
> overtwisting the thread before it is used in weaving. It tends to
> give a texture to the surface of the fabric, but the hand of the
> fabric depends on the actual fibres used to make it. A crepe made of
> silk and linen would feel different (and I believe be
> stiffer/crisper) than a wool crepe or polyester crepe (which are more
> like what we associate with the word "crepe.")
>
> For reference:
>
> M.Channing Linthicum, _Costume in the Drama of Shakespeare and his
> Contemporaries_ Oxford, 1936 (too old for an ISBN). Reference page
> 118-9.
>
> She puts in several source from inventories and other legal
> manuscrips, as well as from literature. In the foot note she writes
> that "curled cypress" indicated that it was the crepe. Uses noted in
> these are for things like headwear, partlets, foresleeves, neckware
> and laces. No mention of hose.
>
> There might also be some information in _The Inventories of Henry
> VIII_ edited by Starkey if you need something from an earlier point
> in the 16thC. From what I recall, their definitions and the inventory
> items containing them were pretty much the same as those in
> Linthicum.
>
> Kat
> <kat@redtrollforge.com>
>
>
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Subject: RE: [h-cost] to curve a pattern
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Bjarne,

I don't know Corel Draw very well, but in other drawing programs (like
Illustrator) there's a function called "distort" or "transform" or
"shear".  It allows you to select an object, like the sides of your
pattern, and bend it.  Perhaps there is a similar function in Corel.

Good luck!  I'd hate to have to see you redraw the whole thing!

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: 16 October 2003 12:49 PM
To: h-costume@indra.com
Subject: [h-cost] to curve a pattern

Hi,
I have a question i cant figure it out. I have Corel Draw, a wonderfull
computer program for everything in drawing.
If i have a pattern i want to curve a little, how do i do that?
It must be possible to do it on the puter.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost]  Re: Learning to sew was: Re: YET More on the Whole
 Big 3 Pattern Thing
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>
> > Please don't think I'm being defensive here. My relationship with my
> > daughter is fine except when I try to teach her anything - cooking,
> > crochet, embroidery, sewing. They want to learn by within an hour we
> > have to separate. I'm sure it's as much my teaching style as it is my
> > daughter's independence and stubbornness. We get along great except
> > for that. And she wants to sew and I want to teach her, but it just
> > doesn't work. I want to get her into a basic sewing class and then
> > answer her questions rather than try to sew something with her.
> > LynnD
>

I completely understand your situation...when I was young and learning to
play the piano, I would get terribly, unreasonably mad when my mother
tried to teach me. I don't know why I did, even now.  Neither does she.
Her teaching technique was great. But when she sent me off to a piano
teacher, things went a /lot/ more smoothly. :) I think it was an
independence issue of some kind.

Drea

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Subject: Re: Learning to sew was: Re: [h-cost] YET More on the Whole Big
	3Pattern Thing
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Thanks for all your support. Kate's a wonderful person and I'm proud of her
brightness, common sense and her whole personality. But she's wants what she
wants and will do what she wants to do, and she's been like this since she
could walk and talk. We can have great times together - as long as I don¹t
try to teach her anything.

As I told Kat in a private message, I've gotten what I deserved. I saw the
musical "Kiss Me Kate' when I was ten and decided that I wanted to have that
strong, independent Kate of Kate's Hall for my own daughter. My husband
agreed on the name, and our first daughter is Kate the Shrew - luckily only
at home. 

I wasn't much better as a teen, but it sure does get frustrating. Now I know
that my mother was  saint. I was difficult but my sister was impossible!

LynnD


On 10/16/03 10:51 AM, "Kass McGann" <historian@reconstructinghistory.com>
wrote:

>> Please don't think I'm being defensive here. My relationship with my
>> daughter is fine except when I try to teach her anything - cooking,
>> crochet,
>> embroidery, sewing. They want to learn by within an hour we have to
>> separate. I'm sure it's as much my teaching style as it is my
> daughter's
>> independence and stubbornness. We get along great except for that. And
> she
>> wants to sew and I want to teach her, but it just doesn't work. I want
> to
>> get her into a basic sewing class and then answer her questions rather
> than
>> try to sew something with her.
> 
> Don't worry, Lynn.  I think that's just normal.  Once I passed the age
> of 13, I couldn't work with my Mum on projects anymore.  We'd just annoy
> each other.  I think that's just teenagers...
> 
> Kass
> 
> _______________________________________________
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> h-costume@mail.indra.com
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] muslin model of justeaucorps.
Date: Thu, 16 Oct 2003 14:05:12 -0400
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Hi Bjarne,

Call me kookie, but sometimes I think things "get themselves made", if
you know what I mean.  The first extant garment I ever examined was a
16th century gown called the Shinrone gown.  I measured it and made a
replica to match the original.  And then I tried it on...  It FIT!
Perfectly!  They *say* Irishwomen weren't that tall (I'm 5'8").  But it
fit me like it was made for me.  Bust, waist, back waist.  Everything
was right!

When I told this story to a woman in Shinrone, Ireland, where the gown
was found, she said, "I bet your ancestors are from here and that's how
they talk to you."  Well, my ancestors are from Galway, about as far
away as you can get from Shinrone and still be in Ireland.  But the
thought was cool.

So maybe King Gustav is speaking to you, Bjarne, and asking you not to
forget him.

Or maybe we're just damn lucky not to have to do many alterations!  =)

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: 16 October 2003 11:37 AM
To: h-costume@indra.com
Subject: [h-cost] muslin model of justeaucorps.

Hi the list.
Is it not strange. The pattern i use, is in the same size as the
original
model Gustav III.
The only alteration i had to make to make it fit me was making the
armhole 1
cm. deeper and lift up the "skirt" 3 cm. No alterations in the width of
jacket. So actually Gustav III was 3 cm. taller than i am. That is a
huge
man for those days, most 18th century i have seen are much smaller.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Thu, 16 Oct 2003 13:49:39 -0400 (EDT)
From: Katy Bishop <vintage@shore.net>
To: Kate Pinner <pinner@mccc.edu>
Subject: Re: [h-cost] wine stain on silk
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She aid they tried salt, that's all the info I have, whatdo you do once
the salt is added?

Katy

On Thu, 16 Oct 2003, Kate Pinner wrote:

>A friend of mine always pours plain old table salt on red wine stains on her
>tablecloths and says it works.  Never tried it myself.
>Kate
>----- Original Message -----
>From: "Katy Bishop" <vintage@shore.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Thursday, October 16, 2003 9:04 AM
>Subject: [h-cost] wine stain on silk
>
>
>>
>> I just got an email forma customer that red wine was spilled on the silk
>> organza over china silk gown I mad efor her.  Any suggestions as to how
>> to get the stain out?
>>
>> 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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>
>
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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]  Re: Learning to sew was: Re: YET More on the Whole Big
	3 Pattern Thing
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Ditto, my 8 year old and I have finally come to this point. Making her
halloween costume this weekend was not the fun project it once was in the
past. It was hell. Her frustration level hit fast and hard. It never
occured to me all the things that you all are pointing out here and now I
can see with new eyes. Thanks guys! :)

Chiara

>>
>> > Please don't think I'm being defensive here. My relationship with my
>> daughter is fine except when I try to teach her anything - cooking,
>> crochet, embroidery, sewing. They want to learn by within an hour we
>> have to separate. I'm sure it's as much my teaching style as it is
>> my daughter's independence and stubbornness. We get along great
>> except for that. And she wants to sew and I want to teach her, but
>> it just doesn't work. I want to get her into a basic sewing class
>> and then answer her questions rather than try to sew something with
>> her. LynnD
>>
>
> I completely understand your situation...when I was young and learning
> to play the piano, I would get terribly, unreasonably mad when my mother
> tried to teach me. I don't know why I did, even now.  Neither does she.
> Her teaching technique was great. But when she sent me off to a piano
> teacher, things went a /lot/ more smoothly. :) I think it was an
> independence issue of some kind.
>
> Drea
>
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Date: Thu, 16 Oct 2003 11:03:36 -0700
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From: Rima <rima@anet.net>
Subject: RE: Re: [h-cost] re. pattern wish list
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Kass wrote:

>Rima wrote: 
><<OOOOOO and RESTORATION stuff!    The only Restoration pattern I know
>out there is Richard the Thread, and I didn't get great results with
>it.....
>Guess I'll have to draft that one myself too.... unless someone knows a
>pattern out there that can rescue me!>>
>
>All depends on how soon you need the pattern and how long you're willing
>to wait.  My company is definitely planning on doing patterns for
>Restoration era historical clothing.  But I have to slog through the ECW
>and Irish patterns first.  =)

LOL!   Hey, those sound great too!   I'm not in any hurry.   Just 
would love to build some stuff from that era, and I don't know enough 
about it..... too crazed with other things to do the research... ;-D

>Karen wrote:
><<Ironically, for Restoration there's actually a commercial pattern that
>looks pretty good but it's for men. It's Butterick #6844. It's marketed
>as a clerical cassock, but the lines are perfect for men's restoration
>if you shorten the hem a bit.>>
>
>This is a nice pattern, but I don't see how it looks like a Restoration
>era garment, Karen.  These are Restoration era men's outfits (short
>doublets and petticote breeches):

Yeah, I just took a look, and it didn't look right to me.....

>French -
>http://costumes.org/history/17thcent/mensfashionplates/manpetticoat1665.
>gif
>English -
>http://costumes.org/history/17thcent/mensfashionplates/habitofaman.jpg

That's kinda what I had in mind.....    Gotta find a good frock coat too....

Rima
patiently waiting for someone else to do all the hard work on this one.... ;-D
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>http://costumes.org/history/17thcent/mensfashionplates/manpetticoat1665.
>>  gif
>>  English -
>>  http://costumes.org/history/17thcent/mensfashionplates/habitofaman.jpg
>
>I suppose it depends on what one considers the Restoration. Obviously
>it's after Charles II comes to the throne, but he sat on the throne
>during a profound shift in clothing styles. The 1660's still had the very
>silly petticoat breeches and short doublet, but by the 1670's there was a
>longer fashion which was attributed to the Turks and known as a
>'justacorp' which is almost identical to the cassock, especially if you
>look at the lines of the back seams.
>
>Karen

Hmmmmmmmmm  I guess you could put some giant gussets in the side 
seams for that wide-bottomed look they had.....   hmmmmmmmmmmmmmmmm

Thanks!

Rima
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Date: Thu, 16 Oct 2003 11:09:05 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Re: YET etc., but this is it for me
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>I suspect because ready-to-wear has conditioned them to think they 
>can walk into a store and buy some standard size that fits.   People 
>don't expect a really good fit any more.
>
>Fran

I dunno..... must be REALLY hard to fit those sloppy t-shirts and 
baggy shorts with the crotch at your knees.....

What ever happened to looking like you got dressed in the 
morning????????????????????????????   - Oh!  Sorry!   Lost my mind. 
Please forgive me.

Rima
(harumph)
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Date: Thu, 16 Oct 2003 18:17:20 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  Re: Learning to sew
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     With my mother things were slightly different.  She sewed for me and 
taught me to sew, and the next thing you know I was asking her to help me 
figure out how to make a split front hoop skirt for Barbie.  She could not wait 
to be able to send me off to Home Ec classes once I was in junior high so I 
would be someone else's problem. :-)

     -Carol

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From h-costume-bounces@indra.com  Thu Oct 16 14:28:45 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <92DF5C18C876894A927DEEC117C15ABA9507@exchange.lynchburg.edu>
Subject: Re: [h-cost] Pants question
Date: Thu, 16 Oct 2003 20:31:38 +0200
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If you make some pants for 18th century mens breeches, they are tied below
the knees with a tape and buckle.
When you meassures your pants lenght, you must bend your knee, and meassure
from waist tojust below the knee. Pants is not supposed to go over the knee,
just because you sit down, they must stay under the knee, so you have to add
a little lenght for stretching.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Formo, Nathan" <formo@lynchburg.edu>
To: <h-costume@indra.com>
Sent: Thursday, October 16, 2003 7:14 PM
Subject: [h-cost] Pants question


> I just finished a pair of knee length slops and panes.  I was sort of
mixing
> styles since the last pair of SandP's I had were just a little too short
and
> tight for me to move comfortably in.  (I blame the pattern now.)
>
> Anyway I thought it would look nice to have the pants tie right above the
> knee.  I'm not sure if that's a period way of designing it or not.  I'm
sure
> I've seen this used in Colonial clothing.  Since I was making the pants
> loose fitting I wanted to be able to tie up whatever slack I had above the
> knee.
>
> My problem is this.  If I tie the drawsting above the knee with the leg
> straigt then it's fine unless I try to bend my knee.  I can't bend my knee
> deeply without the leg being very tight.  But if I tie the string with my
> knee bent then the opening is wide enough that it slips down over my knee
> when the leg is straight.  Now I actually got the pants length pretty much
> correct so it doesn't go down that far.  But it bugs me that it won't stay
> above my knee.
>
> I'm left with several different possibilites.  I'm just wondering which
one
> is correct.
>
> 1.  I take a lot of ballet and dance classes so my knee muscles are built
> up.  On most people this would have worked?
> 2.  This happens to everyone and you are just supposed to keep it loose
not
> tight?
> 3.  The pants should have been cut so that they weren't long enough to go
> over the knee.  Not with an extra inch that's tied up?
> 4.  Pants weren't tied like that.  Either I imagined it or what I thought
> were practical ties were just decoration?
>
> Overall I'm happy with how these turned out.  For my third time with a
> sewing machine I'm getting a lot of praise from mundane friends about how
> fancy they are.  And they really aren't a problem.  When tied loosely they
> hang to about the center of my knee.  So they are only about an inch or
two
> off of what I had been aiming for.  I'm just curious as to wether I
designed
> them wrong of what?
>
> Thanks for any help.
>
> Bjorn Arnaldsson
> _______________________________________________
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>


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Re: [h-cost] re. pattern wish list
Date: Thu, 16 Oct 2003 14:45:35 -0400
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Rima wrote:
<<LOL!   Hey, those sound great too!   I'm not in any hurry.   Just 
would love to build some stuff from that era, and I don't know enough 
about it..... too crazed with other things to do the research... ;-D
...patiently waiting for someone else to do all the hard work on this
one.... ;-D >>

If you can wait until next fall, Rima, the Restoration patterns are
definitely in the works.  You might even get an early (1680s) frock coat
out of me.  =)

Say, would anyone like to here what patterns I have planned?  I'd really
appreciate your input.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Baggy Clothes was: YET etc., but this is it for me
Date: Thu, 16 Oct 2003 14:42:44 -0400
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Rima justly stated:
<<What ever happened to looking like you got dressed in the 
morning????????????????????????????>>

Amen sister!  I am firmly convinced that people don't have mirrors in
their houses anymore...  =(

And I also think that that's a big reason we reenact.  We get to dress
nicely.

Kass

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>
>      With my mother things were slightly different.  She sewed for me and
> taught me to sew, and the next thing you know I was asking her to help me
> figure out how to make a split front hoop skirt for Barbie.  She could not
wait
> to be able to send me off to Home Ec classes once I was in junior high so
I
> would be someone else's problem. :-)
>
>      -Carol
>
I guess I was lucky, for after spending years of watching my mother sew for
the family(Six boys, two girls) and sewing my dolls and doll cloths by hand,
I was given enough of a scrap fabric to that I pieced together to make a
blouse, while my mom was not at home (I was sixth grade about then I think)
her comment on seeing it nearly finished was "good, you figured out you
don't HAVE to follow the pattern exactly" and that was about it.  It was a
joint project to make something, selecting patterns, fabric, buttons as I
went through high school and the only problems I remember were her issues
with things not being put back where they belonged.  Most of the time I just
read over the pattern directions, figured out if there were short cuts I
could make, and put it together.  But I found learning to knit out a book
much easier that from my mother.  I've found static visuals with written
instruction easiest for me to learn something new.

When my daughter decided she wanted to sew, I helped her with fabric
purchase, pattern selection, gave her the basic how to thread the machine,
change/wind bobbins and so on.  Then I walked away and told her to call if
she need help.  It was a rough tee-shirt and shorts set, but she did it
herself as an early teen.  Her next sewing project was ten years later when
she decided she wanted family to dress up as the wizard of oz ensemble,
bought patterns, fabric, etc. and sewed everything up.  She's getting
better.

Cyn


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Date: Thu, 16 Oct 2003 11:54:27 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: RE: [h-cost] Baggy Clothes was: YET etc., but this is it for me
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>Rima justly stated:
><<What ever happened to looking like you got dressed in the
>morning????????????????????????????>>
>
>Amen sister!  I am firmly convinced that people don't have mirrors in
>their houses anymore...  =(
>
>And I also think that that's a big reason we reenact.  We get to dress
>nicely.
>
>Kass

Just got this note from one of my customers for whom I am building a 
15th century Italian gown for Halloween.  Gorgeous red silk, black 
velvet collar, belt, cuffs, and hem.... mmmmmmmmmmmmm

>I know the dress is going to be beautiful! I'm starting to realize 
>*why* you wear your creations everyday! These creations are so much 
>more beautiful than a dress from macy's. take care!!!!!!!

It's things like these that make my day....   Now if the rest of the 
world would catch up and stop dressing like SLOBS!  ;-D

I woke up one morning almost 10 years ago and realized I had joined 
the Monoculture - GAP from head to toe!    So I burned all my jeans, 
and now I wear whatever the heck I like from whatever time period I 
like - sometimes all mixed together!   There are SO many choices! 
;-D   I figure everyone already knows I'm eccentric.....  might as 
well dress the part.....

Rima
Death to the Monoculture!  ;-D
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Date: Thu, 16 Oct 2003 11:57:38 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: RE: Re: [h-cost] re. pattern wish list
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>Rima wrote:
><<LOL!   Hey, those sound great too!   I'm not in any hurry.   Just
>would love to build some stuff from that era, and I don't know enough
>about it..... too crazed with other things to do the research... ;-D
>...patiently waiting for someone else to do all the hard work on this
>one.... ;-D >>
>
>If you can wait until next fall, Rima, the Restoration patterns are
>definitely in the works.  You might even get an early (1680s) frock coat
>out of me.  =)

Oooooooooooooooooo Can I beta test it for you?????????   Can I, Can 
I?????????????????

>Say, would anyone like to here what patterns I have planned?  I'd really
>appreciate your input.
>
>Kass

uh, no, can't imagine anyone here would be interested..... ;-D

Rima
SEND IT ON!
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: RE: [h-cost] was Baggy Clothes
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Hey Rima...  I'm glad to hear that I'm not the only one to wear my 
creations all together...  Some of my favorite  articles to wear to work 
are my 1550's Flemish jackets or my 1580's Spanish coats.   I get lots of 
'where did you get that?'
Just goes to show that the 'average shopper' may not be as average as the 
buyers and designers think.

Bridgette


>I woke up one morning almost 10 years ago and realized I had joined the 
>Monoculture - GAP from head to toe!    So I burned all my jeans, and now I 
>wear whatever the heck I like from whatever time period I like - sometimes 
>all mixed together!   There are SO many choices! ;-D   I figure everyone 
>already knows I'm eccentric.....  might as well dress the part.....
>
>Rima
>Death to the Monoculture!  ;-D

Mari Stewart
Cornell University


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Baggy Clothes was: YET etc., but this is it for me
Date: Thu, 16 Oct 2003 15:08:08 -0400
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I woke up one morning almost 10 years ago and realized I had joined 
the Monoculture - GAP from head to toe!    So I burned all my jeans, 
and now I wear whatever the heck I like from whatever time period I 
like - sometimes all mixed together!   There are SO many choices! 
;-D   I figure everyone already knows I'm eccentric.....  might as 
well dress the part.....
>>>>
Rima, you're my hero!  I'm serious.  Ever since I was laid-off from my
IT job 18 months ago, I've been wearing jeans and T-shirts every day.
And they're not even *my* jeans and T-shirts.  They're my husband's!

The only time I get to dress up is at reenactments (good thing I reenact
a lot).  Or once in a great while, my husband and I will dress formally
to go out to dinner (long gown for me and tail coat for him), but that
only happens about once a year.

I guess the only ones who can solve the problem is ourselves...

Kass

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Date: Thu, 16 Oct 2003 12:12:22 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: RE: [h-cost] was Baggy Clothes
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Hi Mari!

>Hey Rima...  I'm glad to hear that I'm not the only one to wear my 
>creations all together...

*whew*   I'm glad to hear I won't be lynched here for doing it!  ;-D

>Some of my favorite  articles to wear to work are my 1550's Flemish 
>jackets or my 1580's Spanish coats.   I get lots of 'where did you 
>get that?'
>Just goes to show that the 'average shopper' may not be as average 
>as the buyers and designers think.

Yep.   I live in my "Sir Francis Drake's Undershirt", and sometimes 
sell 'em right off my back.  I usually wear 'em over a linen shell, 
with drawstring pants tucked into my two-button roll-cuffed boots 
(custom by Native Soles - EXCELLENT JOB!) with an oval medieval 
riding cloak I found in some history book somewhere, and a hat that I 
saw on some painting of one of the Medicis....

Brand new in the clothing biz - haven't quit my dayjob yet!   But I'm 
very encouraged.   There ARE some people out there who have a sense 
of adventure!

Rima
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: RE: Re: [h-cost] re. pattern wish list
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--- Kass McGann <historian@reconstructinghistory.com>
> Say, would anyone like to here what patterns I have
> planned?  I'd really
> appreciate your input.
>

Kass, can't you *hear* the resounding YES offline?

*grin*

I'd love to hear what patterns you've got planned.

Angharad (wolfcat)

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Date: Thu, 16 Oct 2003 12:14:03 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: RE: [h-cost] Baggy Clothes was: YET etc., but this is it for me
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>I woke up one morning almost 10 years ago and realized I had joined
>the Monoculture - GAP from head to toe!    So I burned all my jeans,
>and now I wear whatever the heck I like from whatever time period I
>like - sometimes all mixed together!   There are SO many choices!
>;-D   I figure everyone already knows I'm eccentric.....  might as
>well dress the part.....
>>>>>
>Rima, you're my hero!  I'm serious.

aw, *shucks*

>Ever since I was laid-off from my
>IT job 18 months ago, I've been wearing jeans and T-shirts every day.
>And they're not even *my* jeans and T-shirts.  They're my husband's!
>
>The only time I get to dress up is at reenactments (good thing I reenact
>a lot).  Or once in a great while, my husband and I will dress formally
>to go out to dinner (long gown for me and tail coat for him), but that
>only happens about once a year.
>
>I guess the only ones who can solve the problem is ourselves...
>
>Kass

Just think of it this way - now that you don't have to be an IT 
drone, you can WEAR ANYTHING YOU WANT!!!!!!!!!!!!!!!

Cast off those jeans and tees!   I know you can do it!  ;-D

Rima
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Date: Thu, 16 Oct 2003 15:14:23 -0400
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: RE: [h-cost] was Baggy Clothes
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Hey All... Rima's got a good point...

Ah yes - a sense of adventure!  and individual style,  have we 
(american/international masses) lost this?  Or am I romanticizing something 
that never really was there?

Bridgette

>Brand new in the clothing biz - haven't quit my dayjob yet!   But I'm very 
>encouraged.   There ARE some people out there who have a sense of adventure!
>
>Rima

Mari Stewart
Cornell University


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Subject: [h-cost] Pants question
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So my mistake was that they don't tie ABOVE the knee, they tie BELOW.
That's what I get for trusting my memory instead of picking up a book at
looking at the examples.  Still I think they turned out well.  Since I'm
doing all of this by guess work and logic leaps it's probably lucky they
come out right at all.  Still learning....

Bjorn Arnaldsson

> 
> If you make some pants for 18th century mens breeches, they 
> are tied below
> the knees with a tape and buckle.
> When you meassures your pants lenght, you must bend your 
> knee, and meassure
> from waist tojust below the knee. Pants is not supposed to go 
> over the knee,
> just because you sit down, they must stay under the knee, so 
> you have to add
> a little lenght for stretching.
> 
> Bjarne
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Date: Thu, 16 Oct 2003 12:17:44 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: Re: [h-cost] re. pattern wish list
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At 02:45 PM 10/16/2003 -0400, you wrote:
>Say, would anyone like to here what patterns I have planned?  I'd really
>appreciate your input.


Of course!!

I already plan on getting your Irish gown to try it out. Been wanting to 
remake the gown for some time, and would love to see how you dealt with 
some of the issues I had problems with.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Re: [h-cost] re. pattern wish list
Date: Thu, 16 Oct 2003 15:20:08 -0400
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Rima squealed:
<<Oooooooooooooooooo Can I beta test it for you?????????   Can I, Can 
I?????????????????>>

I'll certainly put you on my list.  Contact me privately, k?

>Say, would anyone like to here what patterns I have planned?  I'd
really
>appreciate your input.
>
>Kass

uh, no, can't imagine anyone here would be interested..... ;-D
>>>>
These are the general periods I plan to cover.  Any suggestions would be
most appreciated.

Mid-15th century English, French, and Burgundian
16th & 17th century Irish
Landsknecht
1600-20s (Late Elizabethan/Jacobean)
1630s (30 Years War/Cavalier)
1640s (English Civil War)
1660s (Restoration)
1680s-1710 (Early American Colonial/Early Georgian)
and
Medieval Japanese =)

I'm also thinking of doing some specific sub-groups of the above; for
example, German 16th century, Swedish 17th century or
Scot-Irish-American 18th century.

Thoughts?

Kass

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To: "'Historical Costume'" <h-costume@indra.com>
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Brigette asked:
<<Ah yes - a sense of adventure!  and individual style,  have we 
(american/international masses) lost this?  Or am I romanticizing
something 
that never really was there?>>

No, I'm sure we still have it.  On a medieval armouring list, a guy
asked me if I could recommend an easy 18th century frock coat pattern
because he wanted to make one as his winter jacket this year.  An
*armourer* wanted this!  And one of my friends wears her 18th century
jackets to work a lot.  They're just nice-looking.  

Remember how Folkwear almost went out of business a few years ago, and
we crazies bought up all the patterns before they went out of print?  I
think that's a testament to the fact that we *do* want to dress
differently.  We just don't always find the time to make up those
garments we're planning.

I think that we've just become lazy in our daily lives.  We don't have
to dress up for work or dinner or even Church anymore.  So we get lazy.
And jeans and T-shirts are easy to throw in the washer and dryer and you
never have to iron them.

But it doesn't mean we *want* to wear them as much as we do.  We just
can.  It's easy.  So we do.

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: Re: [h-cost] re. pattern wish list
Date: Thu, 16 Oct 2003 15:37:44 -0400
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Kimiko wrote:
<<I already plan on getting your Irish gown to try it out. Been wanting
to 
remake the gown for some time, and would love to see how you dealt with 
some of the issues I had problems with.>>

And I look forward to hearing what you think of the pattern, Kimiko.
I'm going to be starting an email list for feedback and discussion soon.
As soon as I get the subscription information, I'll share it with this
list.

Kass

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Subject: Re: [h-cost] Baggy Clothes was: YET etc., but this is it for me
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> >Ever since I was laid-off from my
> >IT job 18 months ago, I've been wearing jeans and T-shirts every day.
> >And they're not even *my* jeans and T-shirts.  They're my husband's!
> >


I freely admit to wearing my husband's tees on a regular basis, but I stick
to my own jeans. OTOH, as he is ten inches taller than I, and considerably
larger in the waist, if I wore his, I'd be one of those flakes with the
crotch at my knees!

And I do limit myself to no more than one pair of sweat pants at a time, and
they are strictly for sleeping. And my favorite nightgown is a t-tunic made
out of coffee-cup print flannel.

Dianne

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Baggy Clothes was: YET etc., but this is it for me
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Dianne wrote:
<<I freely admit to wearing my husband's tees on a regular basis, but I
stick to my own jeans. OTOH, as he is ten inches taller than I, and
considerably larger in the waist, if I wore his, I'd be one of those
flakes with the crotch at my knees!>>

Unfortunately, with this layoff, I gained a few pounds and my jeans are
too snug to lounge in (of course I won't buy new ones because I *will*
lose the weight!)  My husband and I have the same inseam length, so it
works rather well.  His jeans are too big on me in the waist and that
makes me feel better right now than wearing too tight clothing.  <smirk>

<<And I do limit myself to no more than one pair of sweat pants at a
time, and they are strictly for sleeping. And my favorite nightgown is a
t-tunic made out of coffee-cup print flannel.>>

I've never cared for sweats, except for sleeping.  Then they're comfy.
The rest of the time, I don't like them.

Kass

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Subject: [h-cost] jeans....
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Kass says:

>Dianne wrote:
><<I freely admit to wearing my husband's tees on a regular basis, but I
>stick to my own jeans. OTOH, as he is ten inches taller than I, and
>considerably larger in the waist, if I wore his, I'd be one of those
>flakes with the crotch at my knees!>>
>
>Unfortunately, with this layoff, I gained a few pounds and my jeans are
>too snug to lounge in (of course I won't buy new ones because I *will*
>lose the weight!)

Two things:

http://www.weightwatchers.com
http://www.landsend.com/cd/fp/prod/0,,1_2_1930_168_61674_42966_5:view=59,00.html?sid=4627084536203156040

I'm in a performing group which requires me to (a) be very slim for 
dancing -and so the guys can lift me and throw me around (b) wear 
black jeans from time to time.

I kinda let myself go a while ago, and had trouble taking off weight. 
But I  dropped 20 lbs easily with the online program.   And in the 
meantime, I found the ONLY jeans in the universe that fit me:   Lands 
End Custom Online.

check it out.   Nothing short of miraculous.  And for a whopping $54!

Rima
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From: Rima <rima@anet.net>
Subject: RE: [h-cost] was Baggy Clothes
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Kass asks:

>Remember how Folkwear almost went out of business a few years ago, and
>we crazies bought up all the patterns before they went out of print?

Guilty as charged.

>I think that we've just become lazy in our daily lives.  We don't have
>to dress up for work or dinner or even Church anymore.  So we get lazy.
>And jeans and T-shirts are easy to throw in the washer and dryer and you
>never have to iron them.

yep. that too.   Linen is my fave fabric, but I confess I have a pile 
of ironing I haven't done in a week....   wearing my rumpled version 
today... ;-D

Rima
writing to you guys instead of working today...
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> > > Please don't think I'm being defensive here. My relationship with my
> > > daughter is fine except when I try to teach her anything - cooking,
> > > crochet, embroidery, sewing. They want to learn by within an hour we
> > > have to separate. I'm sure it's as much my teaching style as it is my
> > > daughter's independence and stubbornness. We get along great except
> > > for that. And she wants to sew and I want to teach her, but it just
> > > doesn't work. I want to get her into a basic sewing class and then
> > > answer her questions rather than try to sew something with her.
> > > LynnD

Oh don't worry, I do understand. My bf wanted to teach me now to drive
manual (I hope that's the way it's told in English). No way! We'd just start
arguing, I'm sure of it... He doesn't believe me, but I know that's what
would happen. Some people are like that. I wouldn't mind if it was my mom or
dad, or most of my friends, but there are people I know I wouldn't be able
to learn from.
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Subject: Re: Re: [h-cost] re. pattern wish list
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> Say, would anyone like to here what patterns I have planned?  I'd really
> appreciate your input.

Of COURSE! Unless they're the ones on your website, in which case I already
know about them ;-)
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Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art forEngland
	1400-1547' exhibition
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> I definitely wear a coif under my Lettice cap. In some of the
> paintings you can see a little band like edge at the upper edge
> peaking out of the smaller Lettice caps and it makes it easier for
> the Lettice cap to sit properly if it has a coif beneath it. I
> suspect it would do the same for the Gable.

You have a Lettice cap? Sorry, I snipped a lot of your post as this is
exciting as I've only seen the sketch and the painting by holbein, not
anything anyone has made;) Do you have a photo of it?

I want to make one of these, I like the simple but slightly odd lines of it.
Odd in terms of what one is used to in millinary which is to usually see
curves;)

And that cap and coif combination that looks like a large beret on a gable
coif.

> However, in all the pictures I've ever found of gabled hoods, there
> is no portion of coif even partially visible. (But it could be
> completely tucked in.)

(And now I can refer back to comemnts about the coifs.) I wasn't thinking
the Anne Bolyen cap was the same, it was just how close to the head it was..
as in the hair being kept fairly small;) I do think it would be present,
simply fot the fact of keeping hair oils away from the hat/hood.

michaela
http://costumes.glittersweet.com


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Subject: Mary of Hungary pattern Re: [h-cost] Looking for a Book
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> There is a book that covers the building of the Maria of Hungary dress,
does anyone know which book this is?  Can you send me the info?

There is a book with a simgle diagram of the dress. It differs to the
pattern diagram on the web is a few ways.

They have the seams that run the length of the skirt front to back for
joining the fabrcis, but they also have a seam across the skirt, side hem to
waist to side hem.

The skirt is also represented as  circle with the waist right in the centre,
not towards the front to acheive the train.

The sleeves are also pieced differently. There is piecing at the armscye,
and the seam goes up the back rather than the inside.

I'm suspecting the sleeve is correct in the book, and the skirt is correct
in the pattern on Cynthia's site.

That's just a guess, as the dress has a slight train and I know period
practice was to generally have the sleeve seam go up the back. Still, as I
haven't seen the dress (I plan on it though) I can't say for sure.

The dress, now that I'm getting my head around her name is by Naomi Tarrant,
Development of Costume:
http://www.amazon.com/exec/obidos/tg/detail/-/0415080193?v=glance

Some nice interior views of garments from across the ages. I love seeing the
inside of costume.

Any other book I'm not aware of except the booklet from the Hungarian
museum.. or some other very old book mentioned on Cynthia's site.
http://www.virtue.to/guest_authors/hungarian.html

michaela
http://costumes.glittersweet.com


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Subject: Crepe Re: [h-cost] Re: Hose/stockings
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> I've also seen reference to "curled lawn" in QE's wardrobe accounts, which
> (I'm assuming) would have a texture similar to curled cypress...
> Drea

> > She puts in several source from inventories and other legal
> > manuscrips, as well as from literature. In the foot note she writes
> > that "curled cypress" indicated that it was the crepe. Uses noted in
> > these are for things like headwear, partlets, foresleeves, neckware
> > and laces. No mention of hose.

Hah! I've been folowing this part of the thread with interest as I was told
crepe was a 19thC invention.

OK, so perhaps it doesn't validate my use of wool crepe for a kirtle;)
(cheapest wool at the time I bought it, however I've since found cheaper..
sigh)

michaela
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Subject: Re: [h-cost] Re: Hose/stockings
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> Message: 13
> Date: Thu, 16 Oct 2003 09:35:17 -0700
> From: kat@grendal.rain.com
> Subject: Re: [h-cost] Re: Hose/stockings

> > This is confusing to me, because curled cypress has been equated with
> > crepe, and crepe is definitely not crisp. If you could give me a
> > direct quote about curled cypress it would be much appreciated.
> 
> I think it depends on the crepe. Crepe refers to the process of 
> overtwisting the thread before it is used in weaving. It tends to 
> give a texture to the surface of the fabric, but the hand of the 
> fabric depends on the actual fibres used to make it. A crepe made of 
> silk and linen would feel different (and I believe be 
> stiffer/crisper) than a wool crepe or polyester crepe (which are more 
> like what we associate with the word "crepe.")


Granted, silk and linen crepe would feel different, but were silk and linen mixed and woven into a
curled cypress/crepe fabric in period? I can't quite see how curled cypress, which was made of
silk, can be considered "crisp" by any means. Mind you, I do remember reading something about
there being another form of cypress, which wasn't "currelled" or curled - that may have been
crisp, but then that wouldn't equate to our "crepe", which is what I'm asking about.
 
> For reference:
> 
> M.Channing Linthicum, _Costume in the Drama of Shakespeare and his 
> Contemporaries_ Oxford, 1936 (too old for an ISBN). Reference page 
> 118-9. 
> 
> She puts in several source from inventories and other legal 
> manuscrips, as well as from literature. In the foot note she writes 
> that "curled cypress" indicated that it was the crepe. Uses noted in 
> these are for things like headwear, partlets, foresleeves, neckware 
> and laces. No mention of hose.


Thanks Kat, got that. I'm over the hose. At least it seems I can be reasonably safe using
semi-sheer silk crepe for other things. :)


Bella
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Subject: Re: [h-cost] costume books I've just bought, and why costuming
	istaking a back	seat now:(
Date: Fri, 17 Oct 2003 12:09:21 +1300
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> > Anne of Cleves, by Mary Saalar (I think.) Nice list in there of what
> > she got after the divorce/annullment mentions her wearing English
> > costume soonish after arriving in England.
>
> Cool! Do you have an ISBN on this one. (I've seen stuff about both
> she and Caterine of Aragon changing from their native clothes to
> those of England when they came to England, but I've never seen the
> actual list! Much more valuable to the things I like to do!)

Sorry! I missed this, well I didn't I kept it to reply to;)

I accidentally left a big part of my paragraph out of the above. There were
separate things. There is mention of her wearing local dress, as well as
lists of what she was given. They are different things. No idea how I lost a
big chunk of text. Probably accidentally highlighted something and deleted
it without noticing.

If you want the ISBN still I'll hunt the book from the recesses that is my
room for you.

> Yep. Definitely. However, studies done on this subject have shown
> that women in the past generally far fewer periods than modern women
> and that they were much lighter and shorter than what is currently
> considered normal for modern women. Has something to do with
> nutrition, genetics, pregnancy numbers, and other health related
> factors that contribute to such things.

To the point of practically not exsisting?  I'm going to see if I can find
some more information. Someone mentioned how much more active women were
than now, which I don't think is strictly true. Working class is probably
about the same, working coming home to do more intense household duties.

Of course we do know that women who are underweight have this kind of issue.
Must find old medical texts. Probably some in the medical library at Uni...


> > So sewing is extremely painful, and actually detrimental to my wrists.
> > I have no idea how much sewing I'm capable of doing, but recently I've
> > been able to sew about a seam a day. With a day or two between.
>
> Ouch! Not a good thing for any of us needleworkers (although it tends
> to end up being a problem for sooooo many of us.)

RA? Wrist damage yes, but I've got an autoimmune disease. Unfortunately it
affects every joint from my jaw to my toes when I have a particularly nasty
flare. Luckily the therapy I'm on has held that off for the last year.

Scarily enough there is even a mortality rate associated with it. Still. No
sign of the problems that lead to that, and it does seem to have only
damaged my wrists so far. And some osteopenia, but that's pretty good all
things considered:)

I'm not giving up 'til it get to the point where I have to.

There is always the research side of costuming I suppose....

michaela
http://costumes.glittersweet.com


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Date: Thu, 16 Oct 2003 16:54:44 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses,
 was V&A 'Gothic: Art for  England 1400-1547' exhibition
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At 12:23 AM 10/17/2003 +1300, you wrote:
>PS, read both pages and this one:
>http://www.ninyamikhaila.com/englishhood.html


Thanks, Michaela, I am printing this one out to compare with the other two. 
Wow, so many ways of making this one hood.

Thanks! I can't wait to work on this hood.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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	costumingistaking a  back	seat now:(
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If the percentage of a woman's body fat goes too low she will stop
having her cycle.

Today it is usually seen with woman who are heavily into sports.

But I would think that in the past it would occur from lack of food.
Also I'm sure that the period just doesn't suddenly stop when you get
to  the magic number (whatever that % is) but as you get closer the
cycle would diminish.

Just my 2 cents worth.

Onaree 

michaela wrote:
> 
> 
> > Yep. Definitely. However, studies done on this subject have shown
> > that women in the past generally far fewer periods than modern women
> > and that they were much lighter and shorter than what is currently
> > considered normal for modern women. Has something to do with
> > nutrition, genetics, pregnancy numbers, and other health related
> > factors that contribute to such things.
> 
> To the point of practically not exsisting?  I'm going to see if I can find
> some more information. Someone mentioned how much more active women were
> than now, which I don't think is strictly true. Working class is probably
> about the same, working coming home to do more intense household duties.
> 
> Of course we do know that women who are underweight have this kind of issue.
> Must find old medical texts. Probably some in the medical library at Uni...
> 
> michaela
> http://costumes.glittersweet.com
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

-- 
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Date: Thu, 16 Oct 2003 17:16:30 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
   England 1400-1547' exhibition
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>Thanks, Michaela, I am printing this one out to compare with the other 
>two. Wow, so many ways of making this one hood.

I think we should all post our Gable pictures on the same page, somewhere, 
so we can see them next to each other.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

              //// \\\
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On Thursday 16 October 2003 06:23 pm, Audrey Bergeron-Morin wrote:
> > > > Please don't think I'm being defensive here. My relationship with my
> > > > daughter is fine except when I try to teach her anything - cooking,
> > > > crochet, embroidery, sewing. They want to learn by within an hour we
> > > > have to separate. I'm sure it's as much my teaching style as it is my
> > > > daughter's independence and stubbornness. We get along great except
> > > > for that. And she wants to sew and I want to teach her, but it just
> > > > doesn't work. I want to get her into a basic sewing class and then
> > > > answer her questions rather than try to sew something with her.
> > > > LynnD
>
> Oh don't worry, I do understand. My bf wanted to teach me now to drive
> manual (I hope that's the way it's told in English).

It conveys the meaning you want, i.e., teach you how to drive a car with a 
manual transmission.  Colloquially, however, we Americans would say "teach 
you how to drive stick" (i.e., stick shift).

> No way! We'd just
> start arguing, I'm sure of it... He doesn't believe me, but I know that's
> what would happen. Some people are like that. I wouldn't mind if it was my
> mom or dad, or most of my friends, but there are people I know I wouldn't
> be able to learn from.

My dad *did* try to teach me how to drive a car with manual transmission...the 
results were agonizing.  You're better off not having him teach you, in my 
opinion.


--
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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> You have a Lettice cap? Sorry, I snipped a lot of your post as this is
> exciting as I've only seen the sketch and the painting by holbein, not
> anything anyone has made;) Do you have a photo of it?

I made it myself years ago (somewhere around 14-15 years ago) and 
still have the pattern from doing so. However, I don't have any 
pictures of it. I'm not fond of having my picture taken.

It's basically two shaped pieces which are mirrored on the other 
side. I do the "Portrait of a woman with a squirrel and a starling" 
style (as opposed to the smaller one.) I like it because it keeps my 
ears warm on cold tourney mornings/evenings. Some people refer to it 
as my "ugly" hat because of a comment from someone who should have 
known better. ("Where did she ever get the idea for her ugly hats?")

The ones in period may have had more pieces. There is one colored one 
I've found in pictures: on Mary I's maid/fool in the background of 
the "family portrait" with H8, Mary, Elizabeth and E6 as the main 
focus (but a maid is off to one side looking through a doorway.) The 
maid's has stripes of brown and white fur although otherwise it's 
similar to the"PoaWwaSaaS" and the Holbein sketch labeled "Mother 
Jak.". This might give you a better idea than I had 14-15 years ago 
about the actual construction.

> I want to make one of these, I like the simple but slightly odd lines
> of it. Odd in terms of what one is used to in millinary which is to
> usually see curves;)

Yes. The interesting thing is whether or not it had any stiffening. 
When discussed in the period (such as Lisle's daughters writing home 
as seen in The Lisle Letters [unabridged]) they seem definitely to be 
an at home comfortable hat. (And the daughter ordered enough for an 
army. Either they wore out really fast which I doubt or she was going 
to give them as gifts to friends.) This lead me to believe that they 
would not have any wire stiffening at the edge, only the body 
produced by the fur (I used rex rabbit since I don't have access to 
any "lettice fur") and an "interlining" of felt, with a plain lining 
fabric. (I used cotton but now I'd use linen.)

However, I had been chastised by the woman I was then apprenticed to. 
She felt that it had to have had at least some stiffening around the 
face. After years of wearing it, I think that she may be correct 
since it doesn't hug my face like the ones in the portraits do. It 
might need just a little coming down the front from the tip of that 
"gable" to just below the cheek toward the back. Although when it was 
newer it seemed to hug my cheeks even without that.

> And that cap and coif combination that looks like a large beret on a
> gable coif.

A friend of mine did this one. It seems very German to me.

> (And now I can refer back to comemnts about the coifs.) I wasn't
> thinking the Anne Bolyen cap was the same, it was just how close to
> the head it was.. as in the hair being kept fairly small;) I do think
> it would be present, simply fot the fact of keeping hair oils away
> from the hat/hood.

I would heartily agree, for that reason and for ease of arranging it. 
However, the turban is right against the skin of the face, which 
would get oily even if you were wearing a coif. It still could be 
that the hair was braided, pinned to the head and then the turban 
wrapped around the head before the rest of the hat put on.

It's things like this which make me wish for a time travel machine!

Kat
<kat@redtrollforge.com>


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> > > Anne of Cleves, by Mary Saalar (I think.) Nice list in there of
> > > what she got after the divorce/annullment mentions her wearing
> > > English costume soonish after arriving in England.
 > If you want the ISBN still I'll hunt the book from the recesses 
that
> is my room for you.

It'd be much appreciated! Thanks in advance!

> > Yep. Definitely. However, studies done on this subject have shown
> > that women in the past generally far fewer periods than modern women
> > and that they were much lighter and shorter than what is currently
> > considered normal for modern women. Has something to do with
> > nutrition, genetics, pregnancy numbers, and other health related
> > factors that contribute to such things.
> 
> To the point of practically not exsisting?  I'm going to see if I can
> find some more information. Someone mentioned how much more active
> women were than now, which I don't think is strictly true. Working
> class is probably about the same, working coming home to do more
> intense household duties.

If you have baby after baby without much break in between, and you 
have poor nutrition besides, even a normally active woman would have 
far fewer periods.

Most of the time when we see this it is a girl who has been very 
active in sports. But we also see it in girls who are anorexic.

Besides which, something I've noticed over the past 20 years of 
pediatric practice is that the periods are starting earlier (like at 
age 9-10 as opposed to 12-13) and that the girls are having much 
heavier and longer periods. It may have something to do with the 
hormonally enhanced foods we've been eating. But it's sufficient 
enough that many of the endocrinology guidelines for what is normal 
in terms of puberty age (especially menarche) is changing just like 
we're seeing changes in height/weight in kids. (And just like we're 
seeing more Type 2 Diabetes in kids. I had been taught in medical 
school that it doesn't happen in childhood but a *lot* of information 
has been coming out about that recently.)

> > > So sewing is extremely painful, and actually detrimental to my
> > > wrists. I have no idea how much sewing I'm capable of doing, but
> > > recently I've been able to sew about a seam a day. With a day or
> > > two between.
> >
> > Ouch! Not a good thing for any of us needleworkers (although it
> > tends to end up being a problem for sooooo many of us.)
> 
> RA? Wrist damage yes, but I've got an autoimmune disease.
> Unfortunately it affects every joint from my jaw to my toes when I
> have a particularly nasty flare. Luckily the therapy I'm on has held
> that off for the last year.

Definitely bad news. However, I seem to know a lot of women 
needleworkers who have RA (such as Arlys who sometimes posts to this 
list.)

Kat
<kat@redtrollforge.com>


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At 11:30 PM 10/15/2003, Kass responded to Audrey:

>I don't know what your relationship with your daughters is, but I learned 
>to sew with my mom. I learned a lot of things by osmosis, and then she had 
>me sew straight seams. And then for a couple of months I called for help 
>when I needed it.

I learned sitting on my grandfather's lap with sewing cards, and graduated 
to a needle when I was five and Mom convinced Dad to get her a sewing 
machine. Then my sister and I always got to pick out patterns for us and 
for our dolls, though Grandpa would usually bring the fabric home from work 
(he worked in a dress factory). The scraps became doll clothes, or we'd 
wrap ourselves in them and call them "costumes"...

>But we parted company a couple of years ago when I decided that I didn't 
>need a pattern to make a T-tunic :-)
> >>>>
>---
>And we "parted company" too, Audrey.  Mum doesn't understand why you can't 
>use a dart or the kind of corset boning you can sew over.  =)

My mom and I started getting into fights when I tried to explain to her 
that she needed to alter her patterns because they weren't fitting her 
properly... She does her own thing now, I do mine, and most of the time the 
only time we discuss it is when her machine is "acting up" and I need to 
figure out why it's not behaving the way it should. (The last time it was 
because the needle hadn't been inserted all the way!)


Brenda
webwarren@earthlink.net


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I was available for the chat today; transcripts will be available on the 
Simplicity site shortly.

Amazingly, there was little directed particularly at Andrea Schewe, and 
more directed at Abbie regarding pattern sizing and availability; also 
fitting and alterations.

Some of the comments we've made on this list appear to already be in the 
plans for next year:  discussing signature-costume lines, enhancing the Web 
site with info that can't fit on/into the pattern envelope, and such.

Abbie asked what sorts of measurements we would like to see added to 
patterns. Suggestions included marking the bust points; noting neck size, 
high bust, sleeve length (both shoulder-to-wrist and elbow point), 
shoulder-to-shoulder width, center-front-waist length and front-waist, 
shoulder-to-waist length over the bust point, marking back-waist, splitting 
bust and hip measurements into separate front and back measurements, 
finished upper arm circumference, and finished thigh circumference.

It looks like a men's Cavalier costume is one of the next major costume 
patterns in the works; I think it's supposed to be available in the spring 
catalog.

That's about all I can recall offhand. The transcript will be available 
from this page: <http://www.simplicity.com/s10chat_trans.htm>

We can contact Abbie and Betsy by writing to info@simplicity.com and 
leaving our e-mail addresses.


Brenda
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> > I think it depends on the crepe. Crepe refers to the process of
> > overtwisting the thread before it is used in weaving. It tends to
> > give a texture to the surface of the fabric, but the hand of the
> > fabric depends on the actual fibres used to make it. A crepe made of
> > silk and linen would feel different (and I believe be
> > stiffer/crisper) than a wool crepe or polyester crepe (which are
> > more like what we associate with the word "crepe.")
> Granted, silk and linen crepe would feel different, but were silk and
> linen mixed and woven into a curled cypress/crepe fabric in period? I
> can't quite see how curled cypress, which was made of silk, can be
> considered "crisp" by any means. Mind you, I do remember reading
> something about there being another form of cypress, which wasn't
> "currelled" or curled - that may have been crisp, but then that
> wouldn't equate to our "crepe", which is what I'm asking about.

What evidently made Cypress different from other silk fabrics is that 
it was mixed with the silk.

The other form of cypress wasn't creped/crippens/etc but plain. It 
referred to the way the thread was overtwisted.

I agree that a fabric which was solely silk would be less crisp than 
one which was intermixed with linen. Maybe that's why they started 
doing it in the first place: to get a crisper silk.

> > For reference:
> > 
> > M.Channing Linthicum, _Costume in the Drama of Shakespeare and his
> > Contemporaries_ Oxford, 1936 (too old for an ISBN). Reference page
> > 118-9. 
> Thanks Kat, got that. I'm over the hose. At least it seems I can be
> reasonably safe using semi-sheer silk crepe for other things. :)

But do look up the Linthicum. There is a wealth of information in 
that book which its age and title do not convey. I absolutely love 
all the snippets from the PRO manuscripts. It makes me dream of 
getting hold of them myself. ;)

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Lettice caps, was: Re: Tudor gable headdresses,
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> > You have a Lettice cap? Sorry, I snipped a lot of your post as this is
> > exciting as I've only seen the sketch and the painting by holbein, not
> > anything anyone has made;) Do you have a photo of it?
>
>I made it myself years ago (somewhere around 14-15 years ago) and
>still have the pattern from doing so. However, I don't have any
>pictures of it. I'm not fond of having my picture taken.
>
>It's basically two shaped pieces which are mirrored on the other
>side. I do the "Portrait of a woman with a squirrel and a starling"

>similar to the"PoaWwaSaaS" and the Holbein sketch labeled "Mother
>Jak.". This might give you a better idea than I had 14-15 years ago
>about the actual construction.

I've got one of those too, but didn't know the name of it.  I made one as 
the base of the Gable headdress, in lightweight white fabric, and another 
one in thick cotton curtain velvet, as a by-itself cap.  Neither needed any 
stiffening, IIRC, and the chin ties kept them snug to my head.  Mine were 
one piece each, not counting the lining of the velvet one.  The square back 
was folded like I did the square back of my gable, and like the crown of 
what gets called the 'origami hat' found in Durer.  (I figured out the 
'origami hat' for my first German Ren. outfit, made in 1971 for my first 
SCA event.)

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: Re:  [h-cost] to curve a pattern
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At Thu, 16 Oct 2003 18:49:12 +0200, "Bjarne og Leif Drews" 
<drewscph@post12.tele.dk> wrote:

>I have a question i cant figure it out. I have Corel Draw, a wonderfull 
>computer program for everything in drawing.
>If i have a pattern i want to curve a little, how do i do that?

The short answer: use the node-edit tool and edit the Bezier curve.

The longer answer:

I'm going to presume you have the toolbar in the default position (on the 
left) because that's where I usually keep it.

Click on the object you want to edit (recurve).

Now click on the second tool from the top. IIRC (I just rebuilt my system 
and haven't reinstalled Corel yet) it looks like a curve with an arrow 
pointing to it.

The lines on your object should now look sort of perforated (- - - - - -), 
possibly with large hollow squares and small black squares showing.

Click once on the line you want to curve. You should definitely see the 
hollow squares and the black squares. The black squares stick out a bit 
from the curve and are sort of attached by blue dotted lines. Click on one 
of the black squares and drag it a bit. Rotating the blue line closer to 
the curved line makes the curve flatten out; pulling it further away makes 
it curve more. Making it bigger moves the curve closer to the center; 
making it smaller moves the curve closer to the end of the curved line 
you're working from. If you need more control over points in the center, 
double-click at one of those points on the line you're trying to edit, and 
a new hollow square will appear. Now when you move the black squares and 
blue lines, you'll only change the curve from one end to the hollow square, 
not the whole original curved line.

There are a couple of other things you may need to do, like pull down or 
display the node-edit roll-up and/or convert from lines to curves or cusps, 
but the icons on the roll-up are pretty straightforward.

Hope this helps.



Brenda
webwarren@earthlink.net


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What did folks in wool-wearing climates do when the weather heated 
up?  Certainly men could take garments off - I've seen period documentation 
for that, including contemporary illustrations from several periods.  What 
options did working women have?  Were there Summer-weight garments, or 
fabrics?  Was linen ever an outerwear fabric for Summer?

Any period/country before about 1800 will do here, but I'm most interested 
in the Germanies in the 1500s, any social station.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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"Audrey Bergeron-Morin said:

Why only reed boning? I know whalebone is not available anymore, but I also know reeds were not the only alternative. "

The whalebone we can get, of course, is made of plastic.  Reeds on the other hand are period and are available.

Thanks for  your input.


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] wearing wool in a California Summer
Date: Fri, 17 Oct 2003 00:23:55 -0400
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Carolyn wrote:
<<What did folks in wool-wearing climates do when the weather heated 
up?  Certainly men could take garments off - I've seen period
documentation 
for that, including contemporary illustrations from several periods.
What 
options did working women have?  Were there Summer-weight garments, or 
fabrics?  Was linen ever an outerwear fabric for Summer?>>

Well, there are a couple of answers to this question.  First of all, I
don't think common people in any period from the 1500s to the 1800s had
the same concept of "summer wardrobe" and "winter wardrobe" like we do.
Clothing was expensive, and you usually dealt with heat by taking off or
putting on layers, not wearing a lighter or heavier fabric.  It would be
more normal, for instance, to wear more petticotes in the cold months or
add a quilted petticote to your usual number of petticotes.  And
stripping down to a single petticote was like going around in your
panties!  Same thing with upper body garments.  We have extant knitted
woolen and quilted waistcoats or vests that women (and men) wore under
their other garments.  They weren't seen.  They were for warmth.  In the
summer, of course, they weren't worn.  In the summer, when working in
hot conditions, a man or woman could take his/her jacket off.  But men
still wore their waistcoats and women their stays with a kerchief.  And
generally we see them put their outer garments back on when the heavy
work is done.

There are extant linen woman's jacket from the 17th century and 18th
centuries.  But there are also different varieties of wool.  I doubt
that the California summer is worse than the Pennsylvania summer, and I
wear wool all year round here.  It's just thin, tropical weight wool.
And the wonderful thing about wool is the same garment that breathed so
well in July will insult very well in December.  =)

Hope this helps,
Kass

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Brenda wrote:
<<My mom and I started getting into fights when I tried to explain to
her 
that she needed to alter her patterns because they weren't fitting her 
properly... She does her own thing now, I do mine, and most of the time
the 
only time we discuss it is when her machine is "acting up" and I need to

figure out why it's not behaving the way it should. (The last time it
was 
because the needle hadn't been inserted all the way!)>>

My Mum and I stopped understanding each other when I developed a
distinct dislike for sewing machines and she has always hated
handsewing.  Apparently, my Grandmother used to handsew everything, so
my Mum and her hand a conflict opposite to ours now.  Maybe that's how
it's supposed to work -- when you get to that age that you can't stand
being taught anything by your parents, you get closer to your
grandparents.  =)

Kass

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Subject: Re: [h-cost] costume books I've just bought, and why
	costumingistaking a  bac...
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In a message dated 10/16/2003 5:23:16 PM Pacific Standard Time, 
msberard@earthlink.net writes:


> But I would think that in the past it would occur from lack of food.
> Also I'm sure that the period just doesn't suddenly stop when you get
> to  the magic number (whatever that % is) but as you get closer the
> cycle would diminish.
> 

I don't know about in the past, however, i can tell you from lack of food  
(or body fat if you would prefer, since for me they were the same.)  I am a 
recovered anoretic.  I hit 98 pounds.  Exactly two monthes after that they 
stopped.  They didn't start again, until I was attempting to eat regularly.  However, 
that being said, like so many other things, depends on your body.

Kit

If you walk a mile in someone else's shoes, do you get to keep them? - 
Kenneth Cole
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From: "Tonkin, Rebecca (PIRSA-SARDI)" <tonkin.rebecca@saugov.sa.gov.au>
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Subject: [h-cost] Re: crepe (Long!)
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About crepe: below are some quotes, 1 from an answer I got from a different
list, when I asked about crepe pre-16th century, 1 from the archives here.
In summary: pre-1000 - in Northern (Scandinavian) Europe, broken twill
patterns, yes, over-twisted yarns, probably (not 100% sure of source).
1000-1800 - not as far as we know. 18-something to present - invention of
crepe with over-twisted yarn _and_ broken twill structure using machine
looms.

The quotes start here--------------------

"While a simple four-harness/shaft crepe structure was woven on
warp-weighted looms prior to 1000 (See Bender Jørgensen, Lise. Forhistoriske
Textiler i Skandinavien. Nordiske Fortidsminder Serie B, Bind 9. Copenhagen:
Det Kongelige Nordiske Oldskriftselskab, 1986. -----. North European
Textiles until AD 1000. Aarhus, Denmark: Aarhus University Press, 1991.
Wonderful book...), what you get as crepe these days is much more complex,
having been woven on a commercial loom of anywhere from two to a bazillion
harnesses. Crepe-backed satin is one of those complex multi-harnessed
critters where you've got two different cloth structures interlocked
together. 
Crepe, when a weaver is discussing fabric interlacement structure, is a
random broken twill, usually woven on eight or more shafts. A simple
four-harness crepe was woven on the warp-weighted loom as far back as 800 or
thereabouts in Northern Europe-- the archaeological textile people call it
by its German name, Kreuzkoeper or korskiper in Danish, and define it as a
2/2 twill that reverses weave every two threads; it has no specific name in
English. This is what the ancient crepe looked like: 
..XX..XX..XX..XX..XX..XX 
.X.X.X.X.X.X.X.X.X.X.X.X 
XX..XX..XX..XX..XX..XX.. 
X.X.X.X.X.X.X.X.X.X.X.X. 
..XX..XX..XX..XX..XX..XX 
.X.X.X.X.X.X.X.X.X.X.X.X 
XX..XX..XX..XX..XX..XX.. 
X.X.X.X.X.X.X.X.X.X.X.X. 
There _is_ a pattern, really. 
ciorstan "
-----------------End Quote 1

Quote 2--------------------
>I have a question that I'm really hoping you can help me with. It 
>concerns crepe weave fabric. Is it documentable to the Middle Ages, 
or 
>perhaps even to the Viking era? 
 
Weeeellllll, that depends on how you define "crepe." ;> 
 
There are two common definitions of "crepe."  One is "tabby weave using
overspun yarns."  The effect of using the overspun yarns is that the cloth
crinkles up even though the structure is regular--kind of like 
the "tracking" effect that some yarns give, only much more pronounced. 
This type of crepe weave is period to Vikings:  some fine wool crepe
fragments from Hedeby are believed to be the remains of men's poofy pants.
Being lightweight fine wool, they're appropriate for the sort of 
garment that calls for a great deal of material bunched up in a relatively
confined place. 
--snip--
Accordingly, in order to know whether any given commercial crepe textile you
want to use is appropriate, you'd have to dissect a bit of it and 
see how it's made.  Does this help? 
 
Yours, 
Carolyn Priest-Dorman              
-------------------------Quote Ends

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Date: Thu, 16 Oct 2003 22:17:39 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] wearing wool in a California Summer
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At 12:23 AM 10/17/2003 -0400, you wrote:
>I doubt
>that the California summer is worse than the Pennsylvania summer, and I
>wear wool all year round here.


Depending on where in California, but I can compare CA to Illinois and 
Missouri, where I spent a few summers way back.

California is dry and hot, very hot. In the central valley, where I live, 
summers often have heat waves of 105-110+. This is with relatively low 
humidity, as we are technically a desert. I have heard us described as 
Mediterranean weather. Breezes and shade are the only things that can help.

Illinois I remember stepping out into the 80-90 degree heat, with high 
humidity where it felt I had just stepped into a sauna. Everything stuck to 
me, cotton, linen, or polyblends which I hated. But I was a kid then, and 
that's what I had with me thanks to mom.

But I do agree that wool can be worn fairly comfortably during the our hot 
summers at faire. I just spend as much time in the shade, and pray for a 
nice breeze to make it bearable. That was wearing lower class clothing, 
generally leine, wool bodice and skirt, and kertch of linen.

What I am finding I am having problems with is the layers of a Tudor dress 
(Jane Seymour style), especially in the sleeves which double over 
themselves in velveteen, satin and mesh, not to mention the false 
undersleeves. Not being able to take the outer sleeves off makes the hotter 
weather much more difficult to deal with, unlike the lower classes that can 
remove parts and pieces as they need. I am hoping switching to a linen 
shirt instead of my old cotton one can help make it a bit more comfortable.

my pesos worth...

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] wearing wool in a California Summer
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><<What did folks in wool-wearing climates do when the weather heated
>up?  Certainly men could take garments off - I've seen period
>documentation
>for that, including contemporary illustrations from several periods.
>What
>options did working women have?  Were there Summer-weight garments, or
>fabrics?  Was linen ever an outerwear fabric for Summer?>>
>
>Well, there are a couple of answers to this question.  First of all, I
>don't think common people in any period from the 1500s to the 1800s had
>the same concept of "summer wardrobe" and "winter wardrobe" like we do.
>Clothing was expensive, and you usually dealt with heat by taking off or
>putting on layers, not wearing a lighter or heavier fabric.  It would be
>more normal, for instance, to wear more petticotes in the cold months or
>add a quilted petticote to your usual number of petticotes.  And
>stripping down to a single petticote was like going around in your
>panties!  Same thing with upper body garments.  We have extant knitted
>woolen and quilted waistcoats or vests that women (and men) wore under
>their other garments.  They weren't seen.  They were for warmth.  In the
>summer, of course, they weren't worn.  In the summer, when working in
>hot conditions, a man or woman could take his/her jacket off.  But men
>still wore their waistcoats and women their stays with a kerchief.  And
>generally we see them put their outer garments back on when the heavy
>work is done.

I do use that method when in costume.  But, like you said, there's only so 
much I can decently take off.

>There are extant linen woman's jacket from the 17th century and 18th
>centuries.  But there are also different varieties of wool.  I doubt
>that the California summer is worse than the Pennsylvania summer,

Relatively low humidity, or I'd never get to wear costumes.  25% humidity 
is considered muggy by the locals, and 55 degrees=cold.  I do very badly at 
85+ Fahrenheit, and have been known to faint in a most ungenteel way on 
very hot days.

>and I
>wear wool all year round here.  It's just thin, tropical weight wool.
>And the wonderful thing about wool is the same garment that breathed so
>well in July will insulate very well in December.  =)

I do have some really lightweight wool, from Pendleton, but I wanted to be 
reassured that I wouldn't roast while wearing it.  Usually I stick to linen 
garments, outer and inner, and even they are kind-of hot, and I end up 
sweating a lot and generally being miserable while others around me are 
claiming it's a fine Summer day.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] wearing wool in a California Summer
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>California is dry and hot, very hot. In the central valley, where I live, 
>summers often have heat waves of 105-110+. This is with relatively low 
>humidity, as we are technically a desert. I have heard us described as 
>Mediterranean weather. Breezes and shade are the only things that can help.

I live just south of Oakland, within (long) walking distance of the Bay, 
and at home I mostly don't have this problem.  But our local Ren. Faires 
are inland, away from the Bay breezes, and I usually roast.

>But I do agree that wool can be worn fairly comfortably during the our hot 
>summers at faire. I just spend as much time in the shade, and pray for a 
>nice breeze to make it bearable. That was wearing lower class clothing, 
>generally leine, wool bodice and skirt, and kertch of linen.

That's what I'm doing at Northern this year, except that my dress is 
linen.  Fortunately this site has breezes on even the hottest days.

>What I am finding I am having problems with is the layers of a Tudor dress 
>(Jane Seymour style), especially in the sleeves which double over 
>themselves in velveteen, satin and mesh, not to mention the false 
>undersleeves. Not being able to take the outer sleeves off makes the 
>hotter weather much more difficult to deal with, unlike the lower classes 
>that can remove parts and pieces as they need. I am hoping switching to a 
>linen shirt instead of my old cotton one can help make it a bit more 
>comfortable.

Yeah - earlier is the real problem.  I can manage, with cotton and linen, 
as far back as the 1700s.  But before than that I'm kind-of out of luck.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] wearing wool in a California Summer
Date: Fri, 17 Oct 2003 01:36:15 -0400
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Kimiko wrote:
<<But I do agree that wool can be worn fairly comfortably during the our
hot 
summers at faire. I just spend as much time in the shade, and pray for a

nice breeze to make it bearable. That was wearing lower class clothing, 
generally leine, wool bodice and skirt, and kertch of linen.

What I am finding I am having problems with is the layers of a Tudor
dress 
(Jane Seymour style), especially in the sleeves which double over 
themselves in velveteen, satin and mesh, not to mention the false 
undersleeves. Not being able to take the outer sleeves off makes the
hotter 
weather much more difficult to deal with, unlike the lower classes that
can 
remove parts and pieces as they need. I am hoping switching to a linen 
shirt instead of my old cotton one can help make it a bit more
comfortable.>>

I'm willing to bet that a linen shirt will help you feel more
comfortable, Kimiko.  Until I tried it, I didn't think it would be any
different than a 100% cotton one.  But there's something about the
structure of linen that makes it stand away from your skin when it's wet
(rather than stick to it like cotton tend to do), and that can be a
godsend on a sticky-hot day.

Once I made myself one linen underdress, I never went back.  =)

Kass

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> "Audrey Bergeron-Morin said:
> 
> Why only reed boning? I know whalebone is not available anymore, but I
> also know reeds were not the only alternative. "
> 
> The whalebone we can get, of course, is made of plastic.  Reeds on the
> other hand are period and are available.

However, we can't get the kind of reeds that were used in the 16th 
Century because they are now protected vegetation. You'd have to get 
a type of reed which was similar in all its properties, or you aren't 
really any more "period" than using spring steel as a substitute for 
whalebone. (That's what I still use, having a sample of whalebone 
which I use to show people the comparison.)

There was a "synthetic whalebone" which was discussed on this list in 
the past. It was some sort of plastic from Germany. I was recently 
told that they had tried the website given and that it was no longer 
active. I don't know if that means the product is no longer available 
or if someone just cybersquatted them onto another website. If anyone 
has more recent information, I'm sure that many people would be 
interested.

Kat
<kat@redtrollforge.com>


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> What did folks in wool-wearing climates do when the weather heated up?
>  Certainly men could take garments off - I've seen period
> documentation for that, including contemporary illustrations from
> several periods.  What options did working women have?  Were there
> Summer-weight garments, or fabrics?  Was linen ever an outerwear
> fabric for Summer?

In Renaissance Italy they wore specific gown types for summer and 
others in the winter.

Kat
<kat@redtrollforge.com>


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> What I am finding I am having problems with is the layers of a Tudor
> dress (Jane Seymour style), especially in the sleeves which double
> over themselves in velveteen, satin and mesh, not to mention the false
> undersleeves. Not being able to take the outer sleeves off makes the
> hotter weather much more difficult to deal with, unlike the lower
> classes that can remove parts and pieces as they need. I am hoping
> switching to a linen shirt instead of my old cotton one can help make
> it a bit more comfortable.

Definitely go with the linen shirt.

Also, in the Jane Seymour time there were other sleeves than the ones 
with the false sleeves and suchlike. They had slimmer sleeved dresses 
as well, we just don't have as many portraits of them. 

While I have several slides of them, I don't know which books they 
came from. However, C.W. and Phillis Cunnington's _Handbook of 
Sixteenth Century English Costume_ can give you a good idea of the 
various varieties of sleeve in that time period. I've found pics of 
most of them in scattered places (rarely in costuming books, 
however.)

Kat
<kat@redtrollforge.com>


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Delurking
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Kat wrote:
<<There was a "synthetic whalebone" which was discussed on this list in 
the past. It was some sort of plastic from Germany. I was recently 
told that they had tried the website given and that it was no longer 
active. I don't know if that means the product is no longer available 
or if someone just cybersquatted them onto another website. If anyone 
has more recent information, I'm sure that many people would be 
interested.>>

I don't know about the site in Germany, but Grannd.com carries this
synthetic whalebone.  You can find it here:  
http://www.grannd.com/Merchant2/merchant.mv?Store_Code=GS&Screen=CTGY&Ca
tegory_Code=SSCORWB


Kass

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Date: Fri, 17 Oct 2003 00:39:11 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] wearing wool in a California Summer
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> > What did folks in wool-wearing climates do when the weather heated up?
> >  Certainly men could take garments off - I've seen period
> > documentation for that, including contemporary illustrations from
> > several periods.  What options did working women have?  Were there
> > Summer-weight garments, or fabrics?  Was linen ever an outerwear
> > fabric for Summer?
>
>In Renaissance Italy they wore specific gown types for summer and
>others in the winter.

My SCA persona is German, but the same period as some of the prettiest 
Italian dresses.  Pity that nobody does 1520s Italian, or 1400s anything, 
at Ren. Faires in California.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Date: Fri, 17 Oct 2003 09:30:11 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Pants question
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What period is your costume for, Bjorn? Most 17th century breeches
closed below the knee, though they were much easier in  fit than
Bjarne's 18th century ones. Shorter ones were worn in the 16th century,
though...

Kate Bunting
Library, University of Derby

>>> formo@lynchburg.edu 10/16/03 08:14pm >>>
So my mistake was that they don't tie ABOVE the knee, they tie BELOW.
That's what I get for trusting my memory instead of picking up a book
at
looking at the examples.  Still I think they turned out well.  Since
I'm
doing all of this by guess work and logic leaps it's probably lucky
they
come out right at all.  Still learning....

Bjorn Arnaldsson

> 
> If you make some pants for 18th century mens breeches, they 
> are tied below
> the knees with a tape and buckle.
> When you meassures your pants lenght, you must bend your 
> knee, and meassure
> from waist tojust below the knee. Pants is not supposed to go 
> over the knee,
> just because you sit down, they must stay under the knee, so 
> you have to add
> a little lenght for stretching.
> 
> Bjarne
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From h-costume-bounces@indra.com  Fri Oct 17 08:36:45 2003
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From: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] wearing wool in a California Summer
Date: Fri, 17 Oct 2003 08:35:41 -0400
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Also remember that Europe was in a "mini ice age" and simply did not have
the extremely warm temperatures that can occur in the California desert, in
the time period when the tudor and Elizabethan garments were worn. 105
degrees F still doesn't happen often, if ever in England (help me here,
Teddy). So it's kind of an apple and orange comparison thing.  That said,
tropical weight wool and linen can be very comfortable.  I am still amazed
at the difference wearing a 100% linen shirt versus a 100% cotton shirt here
in DC summers.  And, I think it is also conditioning.  I wear jeans and long
sleeves all summer long, even here in DC.  Some folks don't understand why
I'm not roasting.  If you wear a type of garment all year, you adjust as the
temperature goes up. And you can be comfortable. If you run around in
T-shirts all the time, you may not be heat-adjusted to wearing heavier
clothing  at the same temperature.  I work with folks who wear long-sleeved
shirts under their scrub shirts all summer long, and do not sweat. But I do
not, and don't need them, even though I wear more clothing outside.  My
husband, on the other hand, does not have the ability to heat-adjust, and is
just miserable any time the temperature is over around 80 degrees. He was
raised in Canada.  But I think I'm rambling. Sorry this was so long, just my
2 cents worth.
-Megan

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Ok... I'll bite.... What the heck is a lettuce cap? And do I
have to wear it with crumbled bleu cheese?


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I don't think Teddy's on the list any more, Megan, but I can tell you
that the temperatures in the mid 90s F that we had in the UK in early
August were exceptional. I read that the record was 103 degrees in Kent.
 "Eighty in the shade" is the classic British notion of a hot day - and
no doubt the average was cooler in the 16th century.

Kate Bunting
Library, University of Derby

>>> megan@benchite.com 10/17/03 01:35pm >>>
>Also remember that Europe was in a "mini ice age" and simply did not
have
>the extremely warm temperatures that can occur in the California
desert, in
>the time period when the tudor and Elizabethan garments were worn.
105
>degrees F still doesn't happen often, if ever in England (help me
here,
>Teddy).

I survived around 96 degrees that weekend in a sleeveless wool bodice
with a neckerchief draped over my shoulders, rather than pinned at the
throat. (Probably a sleeveless bodice is inappropriate for my persona,
the widow of a professional musician, but I tend to feel faint if I get
too hot while playing wind instruments.)

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear Brenda.
Thanks a lot for your kind help. You helped me a lot!!!

Thanks

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] German brick stitch
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Greetings all. I was wondering if anyone had any links to a good German
brickstitch site. By good, I mean it discusses materials, has graphs and
patterns and recognizable directions. I've already read the Complete
Anachronist issue on the subject, and got hopelessly lost; it looked to
me like part of the instructions were missing, but that could be because
I'm not good at reading embroidery directions. ;)

Any and all help hugely appreciated.

Thanks,
Arlys (music geek)

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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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Hi -

Kimiko, thanks for bringing this subject up. It's time I started 
thinking about this hat again.

Jean wrote:

 > I found your different technique interesting, especially the way you
 > manage to get the box at the back.  My full frame was partly designed
 > for robustness in transport, because an earlier version did end up a bit
 > battered after a while.

Oh boy, I know what you mean. This poor hat gets squashed into a box 
that is really not quite big enough, but it has held up really well. 
When it's squashed I just unsquash it and away we go. For the second one 
I did put in one extra bit of boning across the top. We'll see if that 
makes it better or worse. One thing I did notice after making it: in the 
Holbein drawings, the back peak seems to be raised up a bit. After 
dragging this hat around and squashing it numerous times it now looks 
exactly like that in the back!

 > Am I reading your instructions for the tails right, that they are just
 > sewn on the bottom edge of the box?  The pictures I have seen of the
 > back of a hood all seem to show seams across the diagonals of the box.
 > Or is that something you were planning to tackle in the second version?
 >

Hmm...I did this quite awhile ago so I need to remember what I was 
thinking at the time...
When I began planning this hat the only pattern I had was the one from 
Hill&Bucknell. It never seemed right to me because of two things: the 
Holbein back view shows a perfect square, not the truncated square from 
that and other patterns, and the Holbein drawings/paintings seem to 
indicate that the hat is somewhat flexible and form fitting, sitting 
back from the face. When I decided to try making one I decided to start 
from the square back, then move forward, trying to determine which areas 
were rigid and which were not. The stiff areas seemed to be that square 
at the back and angles just around the face, particularly at the chin 
level, but there seemed to be much less rigidity across the top of the 
head. I also wanted to work more from the drawings than from the 
portraits, assuming, based on most critiques of Holbein's work, that the 
sketches were more likely what he SAW, whereas the portraits are more 
about what he wanted to SAY about the sitter. It wasn't until after I 
made this that I saw the wire frames at MOL, but was happy that, though 
they don't tell us everything we want to know about these hats (oh, why 
didn't 16th century people have a better sense of what 21st century 
reenactors would want, and save us some examples!), they at least didn't 
utterly contradict the design I tried.

Anyway, the idea to start with a box and carry that line forward, with 
enough rigidity around the face to keep the bottom edges from splaying 
out, was what I was after. That part worked out well, I think. The next 
big question was the veil/tails. I decided not to worry about them too 
much on the first hat. I decided to just cut and sew what I saw from the 
"back view" image, then see if that provided clues as to how it might 
actually have been done, afterward. I ended up doing a sort of origami 
covering of the box, with two separate tails stitched on. This is not 
exactly how most of the other drawings look, but the "back-view" drawing 
is a bit different from most of the other drawings. I'm still thinking 
about this one. There are plenty of 15th century examples of women 
wearing black headdresses where the veil is shaped to the box-like back 
and then splays out from there (I should add some of those to the site). 
The Holbein back view definitely shows the tails extending at a 90 
degree angle from the bottom two sides of the box, and other drawings 
also seem to show the same angle, though in several cases the tail is 
not tucked so tightly against the edge. Hmm..that's not clear...I mean 
the back view tails seem to be the width of each side of the box and 
emanate directly from it, while others don't seem to be stitched 
directly to the bottom edges of the box, rather, appear more loose. Oh, 
dear, I'm still not describing it well.

On the sketches that have what might be seam lines, the line also seems 
to extend at a 90 degree angle from that box bottom edge. Here:
http://www.uvm.edu/~hag/sca/tudor/langdonpl34.jpg
http://www.uvm.edu/~hag/sca/tudor/daunceydet.jpg
http://www.uvm.edu/~hag/sca/tudor/parkerpl18.jpg
http://www.uvm.edu/~hag/sca/tudor/ladysketch.jpg (maybe)
The end of the "tails" also seems to be rectangular on most of these.
So, for my next hat (one of these days!) I want to experiment with using 
a rectangular or square fall, maybe cut in an upside-down L shape, 
though that may not be necessary, and see where that takes me.

The other big question mark is the "turban." I keep thinking that if 
this was indeed a separate turban wrapped around the head it would lay 
at such an angle that it would neither stand up and out from the head as 
the drawings seem to show, nor would it fill in the angles of the hat 
around the face in such a way as to make the stripes of the turban 
appear to be directly at right angles to the inside hat edge. But maybe 
I'm just envisioning the wrong kind of wrapping...And of course I really 
like the way the back of this sort of interior hat band really makes the 
hat fit well and sit securely on my head.

So, lots of musing, sorry to drone on for so long. Thanks for the 
opportunity to put some more thought into this hat. Maybe I'll actually 
work on that second one some time soon! Then again, I also want to try 
the French Hood. I have some strange ideas about that one, too, based on 
French and Flemish paintings from the turn of the 15th/16th century.

- Hope

--------------------
hope.greenberg@uvm.edu, University of Vermont

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Fri, 17 Oct 2003 08:09:59 -0700
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Subject: Re: [h-cost] Lettice caps, was: Re: Tudor gable headdresses,
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> Ok... I'll bite.... What the heck is a lettuce cap? And do I
> have to wear it with crumbled bleu cheese?

It's lettice, not lettuce. No associations with salads at all.

It's an early Tudor hat made of a fur called lettice. The lettice 
evidently was a coney/rabbit-like animal with a dense fur.

Some examples of this headdress are:
http://www.uvm.edu/~hag/sca/tudor/holb5.jpg
http://www.uvm.edu/~hag/sca/tudor/holbsq.jpg

There is also a smaller version and one with color, but I couldn't 
find any online forms of them.

Kat
<kat@redtrollforge.com>


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kat@grendal.rain.com wrote:
> I agree that there was probably some sort of linen undercap. I don't 
> know if it was the same one in the socalled Anne Boleyn sketc. It 
> just seems too bulk. And they'd have to tuck in the cheek pieces and 
> remove the neck piece at some point.

I agree some sort of linen cap is likely, especially as, in the few 
drawings where you can see a bit of hair at the forehead, it seems to be 
held securely and tautly back. But I also agree that the Anne Boleyn cap 
probably isn't it. It seems too substantial, rather more like the 
underhat worn under the beret-shaped bonnet in other drawings. I started 
with the idea of the extended bits around the chin of that hat being the 
white bits that you see in the gable hat, but the angle seemed wrong, so 
I abandoned that idea.

- Hope

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From: "Cyn Bucheger" <cbucheger@paclp.com>
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Greetings,
I'm having trouble locating an image, partially because I'm not sure what
it's called, by who, what country, etc.

I believe it's sixteenth century, later rather than earlier.  It is of a
garment that looks a lot like a short cloak with poofy sleeves, about hip
length, I think a high collar. It looks a lot like the coat that Henry VIII
wears in a lot of his later portraits, but shorter for women.

Any one have a suggestion where I can find an image of such a garment?

thanks
Cyn


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Subject: Re: [h-cost] wearing wool in a California Summer
Date: Fri, 17 Oct 2003 11:37:21 -0400
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----- Original Message -----
From: "Carolyn Kayta Barrows"
>
> > > What did folks in wool-wearing climates do when the weather heated up?
> > >  Certainly men could take garments off - I've seen period
> > > documentation for that, including contemporary illustrations from
> > > several periods.  What options did working women have?  Were there
> > > Summer-weight garments, or fabrics?  Was linen ever an outerwear
> > > fabric for Summer?

I just avoided the issue entirely! :-)

This is the exact reason I wear 15th-16th C Turkish during the summer
months. Summers in the Canadian Prairies, as in the Near East, can have a
huge range of temperature changes throughout the day, and I discovered the
ability to add and remove layers without changing the look of the outfit I
was wearing was wonderful. An added bonus, no sunburn as I stay covered all
day but can remain quite cool. I usually wear a variety of silks, linens,
cottons and light wools.

I save my lovely warm European gowns for the fall and winter months when all
of our events are indoors.

Sheridan






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From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] in search of
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Hi Cyn...
I have a vague recollection of something like this in the"Trachtenbuch" 
...  hmmm... if no one else has one on hand I can check later this evening.
Bridgette

>Greetings,
>I'm having trouble locating an image, partially because I'm not sure what
>it's called, by who, what country, etc.
>
>I believe it's sixteenth century, later rather than earlier.  It is of a
>garment that looks a lot like a short cloak with poofy sleeves, about hip
>length, I think a high collar. It looks a lot like the coat that Henry VIII
>wears in a lot of his later portraits, but shorter for women.
>
>Any one have a suggestion where I can find an image of such a garment?
>
>thanks
>Cyn

Mari Stewart
Cornell University


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wearing wool in a California Summer
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> >
> > > > What did folks in wool-wearing climates do when the weather heated up?
> > > >  Certainly men could take garments off - I've seen period
> > > > documentation for that, including contemporary illustrations from
> > > > several periods.  What options did working women have?  Were there
> > > > Summer-weight garments, or fabrics?  Was linen ever an outerwear
> > > > fabric for Summer?

Interesting question. I remember reading a quote somewhere of a 16th c.
German man complaining that in very hot summers women would walk about
outside in their shift and apron (A German apron, which covers a lot more
than the "usual" apron).  A quote from an early 17th c visitor to New
England mentioned that in summer, respectable men would discard their
doublets entirely, and go about in their shirts. An early 17th c. dutch
painting shows a servant woman wearing only a shift, corset, petticoat
and apron. Inventories of Spanish settlers in St. Augustine show a
larger than usual proportion of canvas & linen garments than most
European inventories.

Queen Elizabeth had linen hose made for summer, and some of her garments
were altered for summer wear (fur and flannel linings replaced with light
silk sarcanet, and replaced with fur again when winter rolled around.)

So it looks like both stripping down and wearing lighter garments were
warm-weather strategies used in the 16th c. In addition, I'm sure that
some people just grinned and bore it as the price they paid for
propriety..like early 20th c. officeworkers that wore a wool suit and tie
to work in places without air-conditioning, even on the hottest summer
days.

Drea

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I hate to admit but I'm still in the anachronism phase of costume
construction.  If I see something that looks good I try to copy it as best I
can.  Hopefully with all the costuming/garb/authenticity groups I'm on I'll
get to the next step soon.

Anyway the pants were to go with a Doublet, supposedly Italian Ren style.
As it was a commercial pattern I'm not sure about that anymore.  A theater
costumer helped me make it and the directions/sizing was really messed up.
With the doublet I had a set of stuffed Slopes and Panes.  The trouble was
that they seemed pretty short (mid-thigh) and were not designed with
movement in mind.  (I can't kneel to one knee.  For dancing/sword fighting
etc this was unacceptable.)  I still don't know why I didn't have a range of
movement.  When fitting the pattern we had added extra fabric because they
seemed to tight from the beginning.  But it ended up that while they are
good for walking around and posing they just weren't practical.

So when I decided to make new pants I wanted movement to be the primary
focus.  I also wanted S&P's a little longer.  At Ren Faires everyone else
with S&Ps had them close to knee length.  So I wanted to extend them as
well.  So I measured based on pairs of pants I already own, made mock ups to
test fitting and stretch ($1yd fabric is nice), and once I had it pretty
much sized comfortably I begin to sew.

While sewing I realized that my design had larger openings on the leg then
needed.  So I started trying to think of a way to get the leg's closed off
without having to trim fabric.  (Old S&P's got tight in legs since I keep
working out/dancing.  I needed something that would tie so I had room to
grow.)  That's when I made the mistake of thinking that ties were above the
knee not below.

So basically I have Slopes and Panes that reach just above my knee, tied
with ribbons in the cuffs in an imitation of Colonial styles, except that I
have it tieing above the knee, not below.  Please don't send the
authenticity police after me yet.  I will redeem myself one of these days.
;)  (I suppose I shouldn't mention the nice silver buttons with celtic
knotwork or the fact that I had to use metallic ribbon in the Panes since I
couldn't find the right color in any type of cloth.  Ooops)

If you are interested I will hopefully have pictures after this weekend.
I'll be mixing everything up by wearing my Ren style Doublet plus S&Ps to a
Colonial event where I will be dancing a mixture of Court/Barn/and early
Ballet styles.  (The majority of the dances use period techniques but the
duet I'm in features more modern lifts and spins.)

Bjorn Arnaldsson

 
> What period is your costume for, Bjorn? Most 17th century breeches
> closed below the knee, though they were much easier in  fit than
> Bjarne's 18th century ones. Shorter ones were worn in the 
> 16th century,
> though...
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> formo@lynchburg.edu 10/16/03 08:14pm >>>
> So my mistake was that they don't tie ABOVE the knee, they tie BELOW.
> That's what I get for trusting my memory instead of picking up a book
> at
> looking at the examples.  Still I think they turned out well.  Since
> I'm
> doing all of this by guess work and logic leaps it's probably lucky
> they
> come out right at all.  Still learning....
> 
> Bjorn Arnaldsson
> 
> > 
> > If you make some pants for 18th century mens breeches, they 
> > are tied below
> > the knees with a tape and buckle.
> > When you meassures your pants lenght, you must bend your 
> > knee, and meassure
> > from waist tojust below the knee. Pants is not supposed to go 
> > over the knee,
> > just because you sit down, they must stay under the knee, so 
> > you have to add
> > a little lenght for stretching.
> > 
> > Bjarne
> 
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] in search of
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This is sort of what I was remembering, though I think that is was closed in
front.  I'm not sure, I seem to associate a funeral theme with the image

http://www.landsknecht.com/html/palatinate_noblewoman.html

>
> Hi Cyn...
> I have a vague recollection of something like this in the"Trachtenbuch"
> ...  hmmm... if no one else has one on hand I can check later this
evening.
> Bridgette
>
> >Greetings,
> >I'm having trouble locating an image, partially because I'm not sure what
> >it's called, by who, what country, etc.
> >
> >I believe it's sixteenth century, later rather than earlier.  It is of a
> >garment that looks a lot like a short cloak with poofy sleeves, about hip
> >length, I think a high collar. It looks a lot like the coat that Henry
VIII
> >wears in a lot of his later portraits, but shorter for women.
> >
> >Any one have a suggestion where I can find an image of such a garment?
> >
> >thanks
> >Cyn
>
> Mari Stewart
> Cornell University
>
>
> _______________________________________________
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>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Pants Question
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Formo, Nathan wrote:

> 
> Anyway the pants were to go with a Doublet, supposedly Italian Ren style.
> As it was a commercial pattern I'm not sure about that anymore.  A theater
> costumer helped me make it and the directions/sizing was really messed up.

Which pattern was this that didn't fit right? I'd like to know so I can 
avoid it. :)



Dawn




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Subject: [h-cost] KWCS request
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I would like to know if someone going to the Costume symposium that will
be taking the glove class could please grab an extra set of notes and
everything for me. I will reinburse you any costs for them. Please contact
me asap. I have made several requests of local folks that are going but no
one has responded. I am heart broken that I am not going to be able to go
so please, if you can, help.

Chiara


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Date: Fri, 17 Oct 2003 10:30:39 -0700
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] wearing wool in a California Summer
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>I save my lovely warm European gowns for the fall and winter months when all
>of our events are indoors.

At least you have a real Winter in which to wear these... ;)  This close to 
the San Francisco Bay, we don't.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: RE: [h-cost] wearing wool in a California Summer
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>I am still amazed
>at the difference wearing a 100% linen shirt versus a 100% cotton shirt here
>in DC summers.

I used to live in Tacoma Park, also Laurel.  I don't think I could live 
there again; not in the Summer anyway.  But yes, I have discovered linen, 
and have even learned to recognize it by touch in remnant bins and thrift 
stores.

>I wear jeans and long
>sleeves all summer long, even here in DC.  Some folks don't understand why
>I'm not roasting.  If you wear a type of garment all year, you adjust as the
>temperature goes up. And you can be comfortable. If you run around in
>T-shirts all the time, you may not be heat-adjusted to wearing heavier
>clothing  at the same temperature.

Good point.  Maybe that other suggestion of going Italian Ren. makes sense, 
because I don't usually wear more than that much cloth even in local Winter.

>My
>husband, on the other hand, does not have the ability to heat-adjust, and is
>just miserable any time the temperature is over around 80 degrees. He was
>raised in Canada.

And I was born in Oregon, so wet, overcast, gloomy weather doesn't bother 
me (we don't tan, we rust).  I don't own a raincoat, only umbrellas, 
sweaters, and one leather biker-jacket.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From h-costume-bounces@indra.com  Fri Oct 17 13:58:13 2003
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Date: Fri, 17 Oct 2003 10:42:26 -0700 (PDT)
From: Mara Riley <corbiegirl@yahoo.com>
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Subject: [h-cost] Hot weather clothing
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As Kass said, there are existing examples of linen doublets, jackets,
etc. in the 17th century.  

I haven't really focused on 16th century Elizabethan costume that
much, but... aren't there a few upper class portraits where people's
shirt or shift sleeves are showing?  They're usually highly decorated
with blackwork or something, but they're there nontheless.  That
seems a likely candidate for "Elizabethan Hot Weather Wear".

Thanks to Aertsen, Beuckelaer, Campi and others, we already know that
the lower classes were stripping down to their shirtsleeves...  

For my 18th c. clothing, I generally wear linen for all our summer
events.  It's still hot, but it'd be hot regardless of what I'm
wearing!  If all else fails, I can dump ice-water over my head.

-- Mara

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Subject: Re: [h-cost] Hot weather clothing
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Another thing to point out,

Modern people tend to overlook the natural insulating qualities of old time
buildings. Stone, wood and plaster can work very well at keeping out the
heat in the summer, if the roof and the outside walls are thick enough. The
home I grew up in never needed air conditioning and it was a fairly simple
log house with a cedar shingled roof. I recall my Mom always having to wear
a sweater indoors, even during the hottest summers. (And alternately, when
our power would occaisonally go out in the depths of winter, the fireplace
was enough to keep at least the main floor of our house nice and toasty.)

Sheridan

----- Original Message -----
From: "Mara Riley" <corbiegirl@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 17, 2003 1:42 PM
Subject: [h-cost] Hot weather clothing


> As Kass said, there are existing examples of linen doublets, jackets,
> etc. in the 17th century.
>
> I haven't really focused on 16th century Elizabethan costume that
> much, but... aren't there a few upper class portraits where people's
> shirt or shift sleeves are showing?  They're usually highly decorated
> with blackwork or something, but they're there nontheless.  That
> seems a likely candidate for "Elizabethan Hot Weather Wear".
>
> Thanks to Aertsen, Beuckelaer, Campi and others, we already know that
> the lower classes were stripping down to their shirtsleeves...
>
> For my 18th c. clothing, I generally wear linen for all our summer
> events.  It's still hot, but it'd be hot regardless of what I'm
> wearing!  If all else fails, I can dump ice-water over my head.
>
> -- Mara
>
> __________________________________
> Do you Yahoo!?
> The New Yahoo! Shopping - with improved product search
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Subject: [h-cost] RE: Pants Question - pattern
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Period Patterns 58
Men's Elizabethan Garments Patterns

Now I'm not saying there were no mistakes on mine part or the part of the
costumer who helped me.  But I assume that when someone who does theater
costuming for a living tells me that she will never work with that pattern
again there must be something wrong.
My problems with the doublet are that it limits my back movement and my
shoulders.  It also came out a little shorter then I would have thought it
should.  I lengthened the flaps on the bottom to make up for the obvious gap
between doublet and pants if I raise both arms.  (A thick belt has also
helped hide that.)  ((When I say short, without the flaps the bottom on the
back of the doublet is about 3 or 4 vertebre higher then where I normally
wear my pants at.  Mundane or garb.))

As for the SandPs I mentioned that they fit tightly.  It seems as if the
design is perfect as long as your legs are parallel.  (Since I couldn't
kneel I am thankful for ballet classes that I could squat to pick up things
and still look dignified.)  But anything past about a 30 degree angle starts
to constrict.  (That's to the front.  Side was even more restricted.)  This
is after we added a 2 inch filler strip between the legs to try and make the
crotch a looser fit.  I also mentioned before something I have always tried
to remember since then.  Don't make it too snug unless you plan on buying a
new one every time you gain or loose weight/muscle.  It may not be period
but I will always add in some way of being able to tighten or loosen waists
and pants legs from now on.  I don't know how the legs went from being
comfortable to digging into my thighs but I won't have that happen again.

Bjorn Arnaldsson

> 
> Formo, Nathan wrote:
> 
> > 
> > Anyway the pants were to go with a Doublet, supposedly 
> Italian Ren style.
> > As it was a commercial pattern I'm not sure about that 
> anymore.  A theater
> > costumer helped me make it and the directions/sizing was 
> really messed up.
> 
> Which pattern was this that didn't fit right? I'd like to 
> know so I can 
> avoid it. :)
> 
> 
> 
> Dawn
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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Pants Question - pattern
Date: Fri, 17 Oct 2003 13:47:23 -0500
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An excellent example of why one should always make a muslin before
completing a garment. :)

T.


> Period Patterns 58
> Men's Elizabethan Garments Patterns
>
> Now I'm not saying there were no mistakes on mine part or the part of the
> costumer who helped me.  But I assume that when someone who does theater
> costuming for a living tells me that she will never work with that pattern
> again there must be something wrong.
> My problems with the doublet are that it limits my back movement and my
> shoulders.  It also came out a little shorter then I would have thought it
> should.  I lengthened the flaps on the bottom to make up for the
> obvious gap
> between doublet and pants if I raise both arms.  (A thick belt has also
> helped hide that.)  ((When I say short, without the flaps the
> bottom on the
> back of the doublet is about 3 or 4 vertebre higher then where I normally
> wear my pants at.  Mundane or garb.))

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>"Audrey Bergeron-Morin said:
> Why only reed boning? I know whalebone is not available anymore, but I
also know reeds were not the only alternative. "
> The whalebone we can get, of course, is made of plastic.  Reeds on the
other hand are period and are available.

That's exactly what I said: whalebone is not available anymore.

And I know reeds are period.

I'm just saying I heard of methods OTHER than whalebone or reeds. But I'm
not an expert.

If you really want reeds, then go ahead and use them, they're fine. But I
was just trying to say that you don't need to be limited to that and
consider that reeds are your only possibility.
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Talia wrote:

> An excellent example of why one should always make a muslin before
> completing a garment. :)
> 

Yes, it is.  However, if the pattern company tells you to cut a certain 
size based on your chest and waist measurements, and the resulting 
garment is big enough to fit both you and your cat inside of it -- or in 
Nathan's case fit too tightly in too many places --  then there is a 
problem with the pattern, not the person who made it.

It's one thing to have to adjust a bust dart or lengthen for a long 
torso, but to have to alter by entire sizes on the whole pattern set is 
too much, IMO.


Dawn






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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi listmembers.
I hope not it is inconvenient to send to you, but if you would like to
follow my work on my new suit progress, then i have just uploaded new
pictures:
http://www.my-drewscostumes.dk/chenillesuit.htm
If you are interrested!

Bjarne






Leif og Bjarne Drews
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http://home0.inet.tele.dk/drewscph/


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>My SCA persona is German, but the same period as some of the 
>prettiest Italian dresses.  Pity that nobody does 1520s Italian, or 
>1400s anything, at Ren. Faires in California.
>
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com

I noticed that too!   That's why I started building my own!   I'm 
just started doing renfaires.... not up to the commitment for 
Pleasure Faire, but I'm doing all the small ones.    At Faire, I like 
to think of myself as a merchant lady in 1580 selling "olden time" 
clothes in the Italian style.... ;-D

OTOH, I wear all this stuff in everyday life, and I'm trying to 
encourage other folks to do the same....   Wish me luck at the 
Sherman Oaks street fair this weekend!

Rima
http://www.twocrowsstore.com
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Date: Fri, 17 Oct 2003 12:37:00 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] justeaucorps progress
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As always, Bjarne, your work is lovely.  And the embroidery does look like 
velvet.
Joan in Sacramento, CA

At 09:14 PM 10/17/2003 +0200, you wrote:
>Hi listmembers.
>I hope not it is inconvenient to send to you, but if you would like to
>follow my work on my new suit progress, then i have just uploaded new
>pictures:
>http://www.my-drewscostumes.dk/chenillesuit.htm
>If you are interrested!
>
>Bjarne

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Date: Fri, 17 Oct 2003 12:43:54 -0700
Subject: Re: [h-cost] justeaucorps progress
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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As so many others will write, Bjarne, it's simply wonderful. Can't wait to
see the progress.

LynnD

On 10/17/03 12:14 PM, "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
wrote:

> Hi listmembers.
> I hope not it is inconvenient to send to you, but if you would like to
> follow my work on my new suit progress, then i have just uploaded new
> pictures:
> http://www.my-drewscostumes.dk/chenillesuit.htm
> If you are interrested!
> 
> 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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Date: Fri, 17 Oct 2003 12:47:59 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] RE: Delurking
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At 11:34 PM 10/16/2003 -0700, you wrote:
>There was a "synthetic whalebone" which was discussed on this list in
>the past. It was some sort of plastic from Germany.


Farthingales carries the synth whalebone as well.
http://www.farthingales.on.ca/plastic_bones.php
It is the second item down.

Kimiko



Kimiko Small
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kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

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Date: Fri, 17 Oct 2003 12:50:01 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: RE: [h-cost] wearing wool in a California Summer
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At 11:42 PM 10/16/2003 -0700, you wrote:
>While I have several slides of them, I don't know which books they
>came from. However, C.W. and Phillis Cunnington's _Handbook of
>Sixteenth Century English Costume_ can give you a good idea of the
>various varieties of sleeve in that time period. I've found pics of
>most of them in scattered places (rarely in costuming books,
>however.)


I will have to see if I can find this book. Thanks!

Kimiko



Kimiko Small
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"When there is fear, there is no creativity" ~ C. Lowell

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Subject: Re: [h-cost] wearing wool in a California Summer
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Don't forget, a farthingale can be a wonderful thing in hot weather. It
holds your skirts out and away from your legs, allowing considerable air
circulation!

Dianne
----- Original Message ----- 
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 17, 2003 1:26 PM
Subject: RE: [h-cost] wearing wool in a California Summer


>
> >I am still amazed
> >at the difference wearing a 100% linen shirt versus a 100% cotton shirt
here
> >in DC summers.
>
> I used to live in Tacoma Park, also Laurel.  I don't think I could live
> there again; not in the Summer anyway.  But yes, I have discovered linen,
> and have even learned to recognize it by touch in remnant bins and thrift
> stores.
>
> >I wear jeans and long
> >sleeves all summer long, even here in DC.  Some folks don't understand
why
> >I'm not roasting.  If you wear a type of garment all year, you adjust as
the
> >temperature goes up. And you can be comfortable. If you run around in
> >T-shirts all the time, you may not be heat-adjusted to wearing heavier
> >clothing  at the same temperature.
>
> Good point.  Maybe that other suggestion of going Italian Ren. makes
sense,
> because I don't usually wear more than that much cloth even in local
Winter.
>
> >My
> >husband, on the other hand, does not have the ability to heat-adjust, and
is
> >just miserable any time the temperature is over around 80 degrees. He was
> >raised in Canada.
>
> And I was born in Oregon, so wet, overcast, gloomy weather doesn't bother
> me (we don't tan, we rust).  I don't own a raincoat, only umbrellas,
> sweaters, and one leather biker-jacket.
>
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
>
> _______________________________________________
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With all this work for a gable hood, anyone have a good Internet or 
mail-order supplier of heavy Buckram and heavy milliner's wire? The stuff I 
can find locally seem rather skimpy/wimpy.

Thanks

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: <h-costume@indra.com>
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Status: RO

Try http://www.patternstudio.com/products/millinery/index.html,

She has very good supplies at very reasonable prices. I have been told
that her prices are some of the best this side of the atlantic. :)

Chiara

Kimiko Small said:
> With all this work for a gable hood, anyone have a good Internet or
> mail-order supplier of heavy Buckram and heavy milliner's wire? The
> stuff I  can find locally seem rather skimpy/wimpy.
>
> Thanks
>
> Kimiko
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume



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Date: Fri, 17 Oct 2003 13:31:47 -0700
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Kimiko,

Hats by Leko is good, quick. Order the double buckram.
http://www.hatsupply.com/

Manny's in New York is good, although sometimes slow is sending small
orders, but I don't have a website available and my catalog is at home,
while I'm at work.

Kimiko, I remember that you're in CA's central valley. I don't know if you
can call Stone Mountain and Daughter here in Berkeley, but they usually have
the double buckram and would probably mail order some for you. Ph:
510-845-6106. I'm pretty sure they have a website, but as I'm just a couple
of miles from them, I haven't bothered getting it.

For the last hat I made for a renaissance faire, I used two layers of double
buckram steamed together for the brim. Take one layer, spray it down with
water, layer the second on top at a 45 degree angle and steam until they're
melted together. Leave until the buckram has cooled and dried. That brim's
not going anywhere and will last all the hard use a faire puts a hat
through. The man who taught us to do this actually uses three (!!!) layers
for men's hats. Men's hats have to survive being taken off and put back on
every time a woman or someone of a higher station walks up, and they're not
usually as tidy with their accessories as women.

(Personal note: Hi, Kimiko, I met you at Costume College this year in
Darla's understructures for women class. We talked about Linda from
Farthingales steel class.)

LynnD

On 10/17/03 1:09 PM, "Kimiko Small" <kimiko@kimiko1.com> wrote:

> With all this work for a gable hood, anyone have a good Internet or
> mail-order supplier of heavy Buckram and heavy milliner's wire? The stuff I
> can find locally seem rather skimpy/wimpy.
> 
> Thanks
> 
> Kimiko
> 
> 
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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Date: Fri, 17 Oct 2003 13:38:08 -0700
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I couldn't get her fabric page to open up. Is it just me?

LynnD

On 10/17/03 1:22 PM, "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
wrote:

> Try http://www.patternstudio.com/products/millinery/index.html,
> 
> She has very good supplies at very reasonable prices. I have been told
> that her prices are some of the best this side of the atlantic. :)
> 
> Chiara
> 
> Kimiko Small said:
>> With all this work for a gable hood, anyone have a good Internet or
>> mail-order supplier of heavy Buckram and heavy milliner's wire? The
>> stuff I  can find locally seem rather skimpy/wimpy.
>> 
>> Thanks
>> 
>> Kimiko
>> 
>> 
>> Kimiko Small
>> Costumer, Fiber Artist, Web Designer, Wife and Mother
>> kimiko@kimiko1.com; http://www.kimiko1.com
>> "When there is fear, there is no creativity" ~ C. Lowell
>> 
>> Graphic Intern at Costume Gallery
>> http://www.costumegallery.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: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wearing wool in a California Summer
References: <4.3.1.2.20031017003723.0554d4d0@mail.frys.com>
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Status: RO

Also, you can build pockets on the interior surface of the farthingale,
and put small reusable ice bags in there (the kind that don't melt). ;-D
--sue's two pence worth

Dianne & Greg Stucki wrote:
> 
> Don't forget, a farthingale can be a wonderful thing in hot weather. It
> holds your skirts out and away from your legs, allowing considerable air
> circulation!
> 
> Dianne
> ----- Original Message -----
> From: "Carolyn Kayta Barrows" <kayta@frys.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, October 17, 2003 1:26 PM
> Subject: RE: [h-cost] wearing wool in a California Summer
> 
> >
> > >I am still amazed
> > >at the difference wearing a 100% linen shirt versus a 100% cotton shirt
> here
> > >in DC summers.
> >
> > I used to live in Tacoma Park, also Laurel.  I don't think I could live
> > there again; not in the Summer anyway.  But yes, I have discovered linen,
> > and have even learned to recognize it by touch in remnant bins and thrift
> > stores.
> >
> > >I wear jeans and long
> > >sleeves all summer long, even here in DC.  Some folks don't understand
> why
> > >I'm not roasting.  If you wear a type of garment all year, you adjust as
> the
> > >temperature goes up. And you can be comfortable. If you run around in
> > >T-shirts all the time, you may not be heat-adjusted to wearing heavier
> > >clothing  at the same temperature.
> >
> > Good point.  Maybe that other suggestion of going Italian Ren. makes
> sense,
> > because I don't usually wear more than that much cloth even in local
> Winter.
> >
> > >My
> > >husband, on the other hand, does not have the ability to heat-adjust, and
> is
> > >just miserable any time the temperature is over around 80 degrees. He was
> > >raised in Canada.
> >
> > And I was born in Oregon, so wet, overcast, gloomy weather doesn't bother
> > me (we don't tan, we rust).  I don't own a raincoat, only umbrellas,
> > sweaters, and one leather biker-jacket.
> >
> >
> >         CarolynKayta Barrows
> > dollmaker, fibre artist, textillian
> >           www.FunStuft.com
> >
> >               //// \\\
> >              ////-@@\\\
> >             ((((   7 )))
> >              (((  <> ))))
> >                 )   ((((((
> >            /----\   /---\))
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
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It could just be a glitch in the lines. I can see it.

I can see:

 BUK001 Buckram  $6.50/yd

60" wide, stiff
Colors: white
Minimum order - 1 yard.

 BUK002 Buckram (Crown)  $12.00/yd

2-ply, very stiff, 44" wide
Colors: white
Minimum order - 1 yard.

 CRIN01 Crinoline  $4.00/yd

39" wide
Colors: white
Minimum order - 1 yard.
*Excellent if just a bit of extra stiffening is required

 VL09 Veiling  $2.50/yd

9" wide
Colors: diamond, white, black, navy, red, ivory, medium brown
Minimum order - 1 yard.
Specify color on order.

 VCD09 Veiling  $3.50/yd

9" wide, diamond chenille dot
Colors: ivory, white, black, red
Minimum order - 1 yard.
Specify color on order.

 IF005 Tim - Tex Interfacing  $5.50/yd

1/2" x 22", v. stiff, non-woven, washable
Colors: white
Good for children's and adults' peaked caps and handbags.

 WC2501 Batting  $3.00/yd

34" wide, Warm & White, low loft
Colors: white
Used to cover buckram frames.
Minimum order - 1 yard.


Lynn Downward said:
> I couldn't get her fabric page to open up. Is it just me?
>
> LynnD
>
> On 10/17/03 1:22 PM, "Chiara Francesca Arianna d'Onofrio"
> <chiara@io.com> wrote:
>
>> Try http://www.patternstudio.com/products/millinery/index.html,
>>
>> She has very good supplies at very reasonable prices. I have been told
>> that her prices are some of the best this side of the atlantic. :)
>>
>> Chiara
>>
>> Kimiko Small said:
>>> With all this work for a gable hood, anyone have a good Internet or
>>> mail-order supplier of heavy Buckram and heavy milliner's wire? The
>>> stuff I  can find locally seem rather skimpy/wimpy.
>>>
>>> Thanks
>>>
>>> Kimiko
>>>
>>>
>>> Kimiko Small
>>> Costumer, Fiber Artist, Web Designer, Wife and Mother
>>> kimiko@kimiko1.com; http://www.kimiko1.com
>>> "When there is fear, there is no creativity" ~ C. Lowell
>>>
>>> Graphic Intern at Costume Gallery
>>> http://www.costumegallery.com
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>>
>> _______________________________________________
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Agreed on Talia's point.  As I mentioned I bought 2 bolts of a very light
cotton at $1yd.  It doesn't stretch so I know it will act the same way as my
final fabric.  Since I am trying to do most everything by trial and error
right now I end up making one or two before I get the size right.  But it
all works out.  I then have extra fabric for stuffing when needed.  Why pay
for material to stuff SandP's or gambesons when I can just save scraps from
every sewing project and recycle them in instead?

As for the original pattern attempt, there were several fitting runs before
it was finalized.  That's when we first found out some fitting problems and
decided to add extra fabric to the pants.  The catch was this.  Nothing fit
so badly that I knew it was obviously wrong.  It just seemed a little snug.
It wasn't until everything was finished that I how restrictive it really
was.  At that time to fit it I walked around and it was comfortable.
Certainly nothing to be worried about.  Now I know better and when I make my
mock ups I do ballet and fencing moves in them.  
The seamstress did have a complaint that in the pattern the lengths didn't
entirely match up with the measurements she took on me.  I do not know
details on that end but she said she had to modify and recut one or two
pieces because if she cut them as the pattern said they would be too small.
Now I am thin and tall so I've never had "standard sizes" fit comfortably on
me anyway.  If the pattern assumed sizes the way dress shirt and suit
companies do then it would have been impossible for it to get my size
correct anyway.

But most importantly I learned from the experience.  There may have been
several mistakes on my part and the seamstresses.  I wouldn't say don't buy
anything because of my experience.  Just be wary that it could happen to
you.  I'm now trying to do things by guess and estimates instead of patterns
if I think I can do it.  I'll mess up again but I'll keep trying to learn
from it.

Bjorn Arnaldsson


> Talia wrote:
> 
> > An excellent example of why one should always make a muslin before
> > completing a garment. :)
> > 
> 
> Yes, it is.  However, if the pattern company tells you to cut 
> a certain 
> size based on your chest and waist measurements, and the resulting 
> garment is big enough to fit both you and your cat inside of 
> it -- or in 
> Nathan's case fit too tightly in too many places --  then there is a 
> problem with the pattern, not the person who made it.
> 
> It's one thing to have to adjust a bust dart or lengthen for a long 
> torso, but to have to alter by entire sizes on the whole 
> pattern set is 
> too much, IMO.
> 
> 
> Dawn
> 
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wearing wool in a California Summer
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On Friday 17 October 2003 09:00 am, Kate M Bunting wrote:
> I don't think Teddy's on the list any more, Megan, but I can tell you
> that the temperatures in the mid 90s F that we had in the UK in early
> August were exceptional. I read that the record was 103 degrees in Kent.
>  "Eighty in the shade" is the classic British notion of a hot day - and
> no doubt the average was cooler in the 16th century.

Unfortunately for all of us, "exceptional" temperatures are becoming more 
common.

I remember the first time I ever visited the UK in August 1990.  As we were 
going through Customs at Heathrow Airport, I asked the clerk what the weather 
was like.  

He told me the temperature in London was "95."

It turned out 1) he really meant 95 degrees Fahrenheit, and 2) he wasn't 
kidding.  When I arrived in London, they were having the exact same weather 
we'd been having in Philadelphia the day I left--hot and humid.  Moreover, 
the weather persisted through our entire week in London--I didn't encounter 
cooler temperatures until we finally took the train to Scotland.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Adult life seems to be a cross between a zen koan and a cattle stampede." 
--Ozy and Millie
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Subject: [h-cost] Men's Costuming Book
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I looked, but I couldn't find any info on the Men's costuming book that was recently discussed.  (I must have deleted all the info.)  Can someone send me the info.

Thanks!

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] RE: Pants Question - pattern
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> Period Patterns 58
> Men's Elizabethan Garments Patterns

Well... Period Patterns are not usually considered such good patterns.
They're tricky to use and the layout is often confusing. I came out with
nice things when using their patterns, but I'm not surprised you had trouble
with it.

> ((When I say short, without the flaps the bottom on the
> back of the doublet is about 3 or 4 vertebre higher then where I normally
> wear my pants at.  Mundane or garb.))

Hm, if you wear your pants lower than your true waist, which is true of most
people, then you'll always have gapping problems, no matter which pattern
you use. Elizabethan pants are meant to be worn at your true waist.
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Subject: RE: [h-cost] wearing wool in a California Summer
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I have a nifty little book about the sumptuary laws in Basel, Bern and
Zurich. (Not exactly Germany, but pretty close!)  Women were admonished for
going about in nothing but their shift and an apron-not fined or dragged
into court, just admonished.  So, stripping down to a degree must have been
acceptable.  

I don't know much about it, but I don't think they shared the Victorian
mores which we have.  The series "The History of Private Life" gives some
insight.  People lived in close quarters, shared beds with many, didn't have
"bathrooms" per se.  (If you look carefully in on of the Breughel (the
younger) paintings you can see a man waiting patiently while his female
partner squats in the middle of the road to tinkle.)

I think we have to be really careful in applying our sensibilities to their
circumstances.

Sg






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Date: Fri, 17 Oct 2003 17:13:56 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
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At 01:31 PM 10/17/2003 -0700, you wrote:
>Hats by Leko is good, quick. Order the double buckram.
>http://www.hatsupply.com/


Hi LynnD!!

I remember you.  :-)

At Hats by Leko, I see Buckram, and Theatrical Buckram. Is the theatrical 
buckram also the double buckram?

And thanks for the additional info on doubling the buckram. I was wondering 
how stiff it had to be, and I will be making my dh a hat for him as well, 
so knowing the buckram will have to be tripled is very helpful. He crushes 
his tam as it is.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
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At 03:22 PM 10/17/2003 -0500, you wrote:
>Try http://www.patternstudio.com/products/millinery/index.html,
>
>She has very good supplies at very reasonable prices. I have been told
>that her prices are some of the best this side of the atlantic. :)
>
>Chiara


Looks good so far. Minimum order is only $10, although with the extra 
buckram LynnD mentioned, I think I will be sending off for much more, and 
they have batting as well.

Would the millinery batting be the same or similar to the batting used in 
quilting? Or would quilt batting be too fluffy? I have the Warm and 
Natural, and Hobbs Heirloom Premium cotton battings.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] wearing wool in a California Summer
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At 02:44 PM 10/17/2003 -0600, you wrote:
>Also, you can build pockets on the interior surface of the farthingale,
>and put small reusable ice bags in there (the kind that don't melt). ;-D
>--sue's two pence worth


oooohhhh, I like that idea. I have a few of those ice bags for the baby's 
formula, and he isn't going to be using it much longer.

Thanks!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
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In a message dated 10/17/2003 8:19:32 PM Eastern Daylight Time, 
kimiko@kimiko1.com writes:

> http://www.hatsupply.com/
> 

Ooooo...some good undecorated straw hats here.

Where can one find decorative straw edgings? Y'know, like looped straw "lace" 
to break up that straight edge of the brim.
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Subject: Re: [h-cost] wearing wool in a California Summer
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Oh, you're welcome, although it's not an original from me.  I first
heard of it from a (SCA) Duchess who now lives in the Kingdom of the
East.  Apparently, one can quite demurely stand there, and sway one's
skirts just enough to get a tidge of a breeze going, and the little ice
packs make things nice and cool.
--sue

Kimiko Small wrote:
> 
> At 02:44 PM 10/17/2003 -0600, you wrote:
> >Also, you can build pockets on the interior surface of the farthingale,
> >and put small reusable ice bags in there (the kind that don't melt). ;-D
> >--sue's two pence worth
> 
> oooohhhh, I like that idea. I have a few of those ice bags for the baby's
> formula, and he isn't going to be using it much longer.
> 
> Thanks!
> 
> Kimiko
> 
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> Graphic Intern at Costume Gallery
> http://www.costumegallery.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] You have the ear of Simplicity
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Re:
>Wow. This sounds great for the SCA-garb-ers who've been looking for numbers
like 9633 and 9650 (Big Men's Tudor and Elizabethan). Which reminds me, I'd
like to see more of the men's patterns in general sizing up at least
through a size 60 and/or 6X (standard range of men's "Big & Tall" stores).
I know enough men who need larger sizes than that, mind you, but at least
we'd have covered the equivalent of "plus size" for the men...<
What about something similiar to Butterick.  The minister/priest cassock and
a couple of others are available "on request" to be ordered.  Then they
could keep the pattern in the books to be mail ordered or ordered online.


----- Original Message ----- 
From: "Martha Kelly" <marthakelly@nyc.rr.com>
To: "h-costume" <h-costume@net.indra.com>
Sent: Tuesday, October 14, 2003 10:58 AM
Subject: [h-cost] You have the ear of Simplicity


> You folks have overwhelmed me in the past couple of days.  What a lot of
> thoughtful suggestions.  I wish I had time to respond to every one right
> now, but I'm trying to meet a deadline and I have to stick to the cutting
> table.
>
> I called my friend Betsy at Simplicity this morning.  I'm not sure of her
> exact title, but she's the in-house designer and head of the craft
> department.  She rides herd on all the free-lancers, too. I told her about
> all the interesting input on h-costume and she wants to read the
transcript.
> Since she isn't a computer person, I'll have to sacrifice a few trees to
> print it all out.
>
> Betsy and Abbie are the two people you should talk to about policy change
if
> you can possibly get to Thursday's chat. Requests will be more effective
if
> directly from you all and not filtered through me.
>
> The most wonderful person to deal with if you're looking for an out of
print
> pattern or a fabric you'd like to source - or just about anything - is Sue
> Fleck.  She's out in the Michigan office and I've never met her in person,
> but she's great by e-mail. And please let her know if any of the sewing
> directions are vague, confusing, or just plain wrong.  Hopefully it can be
> corrected in the next printing and her staff will be able to help people
who
> call in.
>
> Sue Fleck,
> Consumer Relations Manager (Simplicity, New Look, Conso, Wrights)
> Susan Fleck [SFleck@Simplicity.com]
> Toll free line 888-588-2700
>
> By the way, Betsy tells me they keep the patterns that have been pulled
from
> the catalogue out in Michigan and, as long as the supply holds out,
they'll
> gladly sell them.  They don't have the ability to print on demand at this
> time, so they have to crank up the huge presses to print a new run of
> patterns.  This, of course, they can't do unless they plan to reissue the
> tissue.
>
> The sizing is always a fuss.  I have a complete "official" size chart, not
> just bust, waist, hips.  I make a (Simplicity) size ten outfit to be
> photographed and they grade up and down from my size ten pattern. I think
if
> people knew what exact measurements the pattern was meant to fit, they'd
> have a better idea of how to alter it. I've mentioned this several times
to
> them and gotten no interest. Does anybody agree/disagree with me?  I think
> they could print a huge chart in the catalogue, or that little magazine
they
> sell in the spring so people could take it home with them. Would that
help?
> You know there's no hope of coming up with a highly shaped period bodice
> that doesn't have to be fit in muslin to the actual person.
>
> Whew!  And I said I had to stick to the cutting table.
>
> Martha
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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From h-costume-bounces@indra.com  Fri Oct 17 23:17:23 2003
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Subject: Re: [h-cost] German brick stitch
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The only one I know of, on-line, is this:
http://home.earthlink.net/~wymarc/asoot/west.htm
I've also got some "hard copy" stuff (i.e., a book I appropriated from
an old, old roommate) that I could send you as well.
It's not a hard stitch to do...Have you ever done any satin stitch? It's
similar to that, only it's *counted* satin stitch.
There's also a _TI_ article about it, which is where I first encountered
the form.
If you're interested in other types of medieval embroidery, there's a
link at the bottom of the German page that takes you back to the
Medieval Embroidery site that Mr. Wymarc maintains.
--sue (embroidery geek masquerading as a costuming geek! <g>)

Cynthia J Ley wrote:
> 
> Greetings all. I was wondering if anyone had any links to a good German
> brickstitch site. By good, I mean it discusses materials, has graphs and
> patterns and recognizable directions. I've already read the Complete
> Anachronist issue on the subject, and got hopelessly lost; it looked to
> me like part of the instructions were missing, but that could be because
> I'm not good at reading embroidery directions. ;)
> 
> Any and all help hugely appreciated.
> 
> Thanks,
> Arlys (music geek)
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: [h-cost] Re: Hose/stockings
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> Message: 1
> Date: Thu, 16 Oct 2003 19:50:09 -0700
> From: kat@grendal.rain.com
> Subject: Re: Subject: Re: [h-cost] Re: Hose/stockings

> What evidently made Cypress different from other silk fabrics is that 
> it was mixed with the silk.
> 
> The other form of cypress wasn't creped/crippens/etc but plain. It 
> referred to the way the thread was overtwisted.
> 
> I agree that a fabric which was solely silk would be less crisp than 
> one which was intermixed with linen. Maybe that's why they started 
> doing it in the first place: to get a crisper silk.



I'm sorry if I'm sounding a bit thick, but now I'm really confused! I thought "curled cypress"
referred to a special weave of silk (ie crepe weave), not a fibre. So the sentence "what evidently
made Cypress different from other silk fabrics is that it was mixed with the silk" isn't computing
- are you saying cyprus was linen, which was then mixed with silk? Or are you saying that it was
two types of silk interwoven? As fr as I'm aware cypress was a pure silk woven with overtwisted
silk thread.

As for obtaining a crisper silk, I would have thought that silk taffeta would fit the bill nicely
as far as crispness goes.



Bella


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> >I save my lovely warm European gowns for the fall and winter months when
all
> >of our events are indoors.
>
CarolynKayta  wrote
> At least you have a real Winter in which to wear these... ;)  This close
to
> the San Francisco Bay, we don't.

Heh,
Winter has its own set of troubles, I have often been tempted to make a pair
of polar bear trousers like the ones in the'Danish Textiles' book.  ;-)

Sheridan



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At Fri, 17 Oct 2003 21:14:43 +0200, "Bjarne og Leif Drews" 
<drewscph@post12.tele.dk> wrote:

>I hope not it is inconvenient to send to you, but if you would like to
>follow my work on my new suit progress, then i have just uploaded new
>pictures:
>http://www.my-drewscostumes.dk/chenillesuit.htm
>If you are interrested!

Bjarne, it is *never* inconvenient for us to see updates on your work. It 
is a *treat* for the eyes and for the "authenticity maven" in each of us!


Brenda
webwarren@earthlink.net


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Subject: [h-cost] Lettice
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Hi all,

Sorry to take so long to comment on this but my email is doing very
strange things at the moment, and since I keep going down with
non-computer viruses I am not making much progress in sorting it all
out.

I did, however, look up my notes on fur types; lettice was the snow
weasel, a much prized white fur somewhat cheaper than ermine. If you
look at the zoom of the lady with a squirrel at:

http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPub
lisher.woa/wa/work?workNumber=NG6540

you can see that the pelts are much smaller than one would expect from
a rabbit. Actually, I'm not even sure if they had white rabbit during
this
period; someday I must try and find out. There is something of a joke
with the red English squirrel frolicking near  something which would
have tried to take its throat out if it were still alive...

best wishes
Stevie


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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sat, 18 Oct 2003 06:36:33 -0700
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> I'm sorry if I'm sounding a bit thick, but now I'm really confused! I
> thought "curled cypress" referred to a special weave of silk (ie crepe
> weave), not a fibre. So the sentence "what evidently made Cypress
> different from other silk fabrics is that it was mixed with the silk"
> isn't computing - are you saying cyprus was linen, which was then
> mixed with silk? Or are you saying that it was two types of silk
> interwoven? As fr as I'm aware cypress was a pure silk woven with
> overtwisted silk thread.

Cypress was a linen/silk blend. 

> As for obtaining a crisper silk, I would have thought that silk
> taffeta would fit the bill nicely as far as crispness goes.

Taffeta is a denser weave in the taffeta/faille/ottoman family where 
there is a tiny extra thick thread in parts of it to give it more 
body. (Albeit, it's usually so fine that you don't see the ridge 
usually.)

But if you want your silk to be stiffer/crisper without going to a 
less transparent finished fabric, you might add the stiffer linen 
fibre to the blend so that you can obtain the transparency you wish.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] justeaucorps progress
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Wow, Bjarne, beautiful as always!

Brenda writes: 
> Bjarne, it is *never* inconvenient for us to see updates on your 
> work. It 
> is a *treat* for the eyes and for the "authenticity maven" in each 
> of us!

What she said! :D

I have a question for you--what do you use to draw your patterns onto the
fabric?

Arlys, oohing and ahhing

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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
Date: Sat, 18 Oct 2003 21:32:35 -0400
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I carry decorative straw.
Cordially,
Sue Shatto
401 Fairview Ave
Frederick, MD 21701
http:\\www.VictorianMillinery.com
301-694-8950
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, October 17, 2003 8:44 PM
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?


> In a message dated 10/17/2003 8:19:32 PM Eastern Daylight Time,
> kimiko@kimiko1.com writes:
>
> > http://www.hatsupply.com/
> >
>
> Ooooo...some good undecorated straw hats here.
>
> Where can one find decorative straw edgings? Y'know, like looped straw
"lace"
> to break up that straight edge of the brim.
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Sat Oct 18 21:43:12 2003
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I carry those supplies.
Cordially,
Sue Shatto
401 Fairview Ave
Frederick, MD 21701
http:\\www.VictorianMillinery.com
301-694-8950
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: <h-costume@indra.com>
Sent: Friday, October 17, 2003 4:09 PM
Subject: [h-cost] Internet or mail order sources for hat supplies?


> With all this work for a gable hood, anyone have a good Internet or
> mail-order supplier of heavy Buckram and heavy milliner's wire? The stuff
I
> can find locally seem rather skimpy/wimpy.
>
> Thanks
>
> Kimiko
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
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Talking of stockings... 

Where can I buy something suitable for Elizabethan times? Preferably wool?

Thanks!
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From h-costume-bounces@indra.com  Sun Oct 19 05:53:09 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] bias binding
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Dear list.
It is so quiet, no mails today, so i thoaght i wanted to share with you,
Some of you perhaps know this all ready, but i was quite surprised to read
Linda Baumgarden from Colonial Williamsburg, that in all the material she
had gone trough, she has never found a binding where bias cut is used.
This is for 18th century, but perhaps it was the same previously.
I have always binded the tabs in my stays with bias cut strips.
They simply considered this extravagant.
Right now i am making  another corset for a costumer, and this time i will
try to use straight cut binding.
I hate to bind the tabs, hate hate hate. as you know, and straight material
must be even harder to make.

GGGGGGGGGGGGggrrrrrrrrrrrrrrrrrrrrrrrrrr!!!!!!!!!!!!!
I must admit, that i aught to read much more, to get informations, you learn
all the time, dont you

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Bjarne og Leif Drews wrote:
> Linda Baumgarden from Colonial Williamsburg, that in all the material she
> had gone trough, she has never found a binding where bias cut is used.
> This is for 18th century, but perhaps it was the same previously.

All I can add is that the Museum of London book shows straight-grain 
binding strips on the inside of necklines, not bias cut fabric; that's 
medieval, although I don't have the dates that were given.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Finally the SCA, Inc. is asking your opinion about membership payment 
issues and other things, in an easy online survey.  Take it at 
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Bjarne og Leif Drews wrote:

>Dear list.
>It is so quiet, no mails today, so i thoaght i wanted to share with you,
>Some of you perhaps know this all ready, but i was quite surprised to read
>Linda Baumgarden from Colonial Williamsburg, that in all the material she
>had gone trough, she has never found a binding where bias cut is used.
>This is for 18th century, but perhaps it was the same previously.
>  
>

I thought that Drea Leed was very smart to bind her corset with leather, 
as was done for some historical corset (can't remember which right now). 
Leather is stretchy when you want and not when you don't.

liz young


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From: "Genie" <kerowyn@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Re: (h-cost] was: pattern wish list/shameless plug
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Rima,

Atlanta/Decatur April,2004, Palm Sunday weekend, Costume Con.  Come play
with us. ; >

Genie
----- Original Message ----- 
From: "Rima" <rima@anet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 15, 2003 5:41 PM
Subject: Re: Re: [h-cost] re. pattern wish list


> >Ooh and the men's Regency stuff! You see the Georgian and
> >Victorian sometimes but rarely the Regency. I have some gowns
> >for myself, but have no idea how to do something for my
> >husband.... not that we have anywhere to wear it now that we
> >live in Atlanta... but still, I want it!
> >
> >Teena
>
>
> OOOOOO and RESTORATION stuff!    The only Restoration pattern I know
> out there is Richard the Thread, and I didn't get great results with
> it.....
>
> Guess I'll have to draft that one myself too.... unless someone knows
> a pattern out there that can rescue me!
>
> Rima
> _______________________________________________
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> h-costume@mail.indra.com
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Subject: [h-cost] OT, sorta: Stripper pants
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Hi
The Great Costume Holiday is fast approaching and I need a pattern 
for stripper pants (like Britteny Spears wears...) You who know me 
will be glad to know they are not for me <VVBEG>! But to sew a 
demented costume for a friend...So any hints, sources????
Thanks
Carol
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hose/stockings
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Historic Enterprises specializes in early stuff than 16th c. English,
but I'd think their women's hose would still be appropriate.  IIRC, they
sell it in a variety of colors, in both linen and wool (I think).
Here's the link:
http://www.historicenterprises.com/
Oh, hey, and here's a bonus link, found while I was googling for the
Historic Enterprises site (couldn't find my bookmark), and happened to
type in "historical enterprises."
This looks very promising....You can get a "virtual tour" that reads
like a series of little articles.  They seem pretty good, and I've not
seen this site before, so I thought it worth passing on, especially
since I (personally) haven't seen a whole lot (books or online stuff)
that accesses German fashions.
http://www.german-hosiery-museum.de/start.htm
--sue

Audrey Bergeron-Morin wrote:
> 
> Talking of stockings...
> 
> Where can I buy something suitable for Elizabethan times? Preferably wool?
> 
> Thanks!
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Subject: [h-cost] Another interesting link...
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Geez, I'm finding all kinds of things this morning, just from a
mistyping!
These guys are outside my normal (historical) time period, but I thought
some of you might be interested....
http://www.colonialmarket.com/
Not very big, but some stuff I haven't seen before.
--sue
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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sun, 19 Oct 2003 09:04:22 -0700
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Subject: Re: [h-cost] bias binding
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> It is so quiet, no mails today, so i thoaght i wanted to share with
> you, Some of you perhaps know this all ready, but i was quite
> surprised to read Linda Baumgarden from Colonial Williamsburg, that in
> all the material she had gone trough, she has never found a binding
> where bias cut is used. This is for 18th century, but perhaps it was
> the same previously. I have always binded the tabs in my stays with
> bias cut strips. They simply considered this extravagant. Right now i
> am making  another corset for a costumer, and this time i will try to
> use straight cut binding. I hate to bind the tabs, hate hate hate. as
> you know, and straight material must be even harder to make.

I think we all "hate" doing bindings. I still use bias a lot (because 
it comes pre-made and does go around corners more easily.)

However, when I have done the straight binding it hasn't been as 
awful as I thought it would be. I just have to remember that I need 
it a little wider since straight bindings don't stretch like bias.

And straight bindings are much easier to cut from the cabbage than 
bias so there is less waste. (I don't have to have fabric strictly 
meant for the bias. I can just use the cabbage/offcuts.)

Kat
<kat@redtrollforge.com>


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From: "Genie" <kerowyn@mindspring.com>
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Subject: Re: [h-cost] Re: Learning to sew was: Re: YET More on the Whole Big 3
	PatternThing
Date: Sun, 19 Oct 2003 11:11:41 -0500
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Lynn,

my daughter was 15/16 when she took the home ec/sewing.  The teacher invited
the mothers to help on a field trip to the local fabric stores.  My one
complaint, she did not encourage the girls to go for a beginners type
pattern for their project.  My daughter chose a pantsuit pattern that I
would have thought twice about attempting.  And, the fabric was a silk
noile!  She paid for it herself, and managed to finish the pants, but the
rest is still in pieces in a bag somewhere.

Genie
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 16, 2003 12:10 PM
Subject: [h-cost] Re: Learning to sew was: Re: YET More on the Whole Big 3
PatternThing


>
> > Please don't think I'm being defensive here. My relationship with my
> > daughter is fine except when I try to teach her anything - cooking,
> > crochet, embroidery, sewing. They want to learn by within an hour we
> > have to separate. I'm sure it's as much my teaching style as it is my
> > daughter's independence and stubbornness. We get along great except
> > for that. And she wants to sew and I want to teach her, but it just
> > doesn't work. I want to get her into a basic sewing class and then
> > answer her questions rather than try to sew something with her.
> > LynnD
>
> Your experience with your daughter is not only typical but entirely
> normal. Don't blame your teaching style. She's probably at the age
> where she's trying to be an independent person as opposed to an
> appendage of the family.
>
> It's actually much more unusual for teens and pre-teens to want to
> have their mom teach them something.
>
> I think that this is at least partly because our society doesn't have
> a standard "transition" for independence from the family. There are
> so many options (marry, attend school to become a professional, go
> directly into the work force or batten down on the parental units or
> friends) that it makes it more difficult for the teen to feel the
> best way to separate other than to rebel (even if it is in such a
> minor way as not cooperating with parental teaching.)
>
> After she's been through a few sewing classes and had her
> independence, she will appreciate your advice even more. As long as
> the parent helps them to "escape the nest" rather than preventing its
> occurrence, it doesn't take long for them to appreciate you. Before
> too many years have passed you'll be working together on projects
> where your interests in costuming coincide.
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] PATTERN STORAGE
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At 11:06 AM 10/14/2003 -0500, Chiara wrote:
>Nah, I bet I am only the tip of the iceberg of the who's who on this list.
>Especially Margo. I bet that girl has hundreds of patterns just for
>researching slopes! Margo?

Umm, actually, no!  I only have two banker's boxes full of patterns, many
of them kept for sentimental reasons, like the collection of early 70's
ones I found at a garage style which are duplicates of styles I sewed as a
teenager.  I do sometimes buy patterns for drafting reference, but my
software is good enough I don't need to use a lot of paper patterns as
reference.

Back when I was doing bridal sewing, I had a large collection of many
different pattern styles, in every possible size.  It wasn't as expensive
as you might think, becasue I worked at House of Fabrics, and it was my job
to pull the discontinued patterns and throw them away.  As my supervisor
put it, "No, you're not allowed to keep them.  You have to put them in a
garbage bag and take it down that hall you walk through after work.  It's
supposed to go in the Dumpster but it might be full, in which case you have
to put the bag on the floor next to the Dumpster, where anyone could grab
it and take it to her car, and I would never know. "

Margo

"One Tough Costumer"

www.margospatterns.com
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Date: Sun, 19 Oct 2003 21:19:06 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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michaela <thebruce@ihug.co.nz> wrote
>> I made my "turban" wrap around my head underneath, to hide my hair.  The
>> one in the illustration has visible edges next to the wearer's face.
>
>This is what I've been mulling over lately. I'd always thought of it as a
>separate layer, as it does seem to form to the face. And caps and
>headdresses of various times and places seem to involved much pinning of
>separate pieces.
>
>I was wondering if there was a linen cap, then the striped silk piece
>wrapped around the head and pinned with the gable hood on top of that,
>pinned to the turban type wrap. The wrap would give much internal support,
>and possible help hold up the back if long enough. Hair is all well and
>good, but women did need their hair cut off on occasion, fevers for one, and
>the sketch of Anne Bolyen (recently suggested it is her, I'm still not
>convinced, there is another portrait I think shares her features, but I'm
>not an expert;) ) shows a cap that doesn't seem to be holding a lot of hair
>under it.
>
>PS, read both pages and this one:
>http://www.ninyamikhaila.com/englishhood.html
>
>As I've been interested in them recently too. Actually the last bears a
>striking similarity to the pattern in Evolution in Fashion. i must pull that
>out to make a test...
>
>michaela
>http://costumes.glittersweet.com
>
>
Hi there, finally catching up with this thread.

It's great to see different ways of making the gable appearing online. 
When I wrote my instructions it was literally just because there was 
nothing available, either online or in commercial patterns or costume 
books (not available to me at the time, anyway.)

I did get to borrow a friend's instructions from Kentwell, which were 
much the same as the Ninya Mikhaila pattern.  I don't know whether she 
was involved with Kentwell.  I wasn't really convinced by that pattern, 
because it needed ties under the chin, and because of the kennel-shaped 
back piece to the coif, which (as Hope said elsewhere) doesn't really 
seem to fit with the box-shaped back.

I get the impression this is a pattern that's been around a while and 
never been challenged - it would be interesting to find out its origin.

Jean


-- 
Jean Waddie
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Tudor gable headdresses, was V&A 'Gothic: Art for
	England 1400-1547' exhibition
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Hope Greeenberg <hope.greenberg@uvm.edu> wrote
>Hi -
>
>Kimiko, thanks for bringing this subject up. It's time I started 
>thinking about this hat again.
>
>Jean wrote:
>
>> I found your different technique interesting, especially the way you
>> manage to get the box at the back.  My full frame was partly designed
>> for robustness in transport, because an earlier version did end up a bit
>> battered after a while.
>
>Oh boy, I know what you mean. This poor hat gets squashed into a box 
>that is really not quite big enough, but it has held up really well. 
>When it's squashed I just unsquash it and away we go. For the second 
>one I did put in one extra bit of boning across the top. We'll see if 
>that makes it better or worse. One thing I did notice after making it: 
>in the Holbein drawings, the back peak seems to be raised up a bit. 
>After dragging this hat around and squashing it numerous times it now 
>looks exactly like that in the back!
>
Jean catching up -
Isn't it great when that happens, when you use or wear something and 
suddenly find it looks just right, when it didn't when it was new, or on 
the hanger?

>> Am I reading your instructions for the tails right, that they are just
>> sewn on the bottom edge of the box?  The pictures I have seen of the
>> back of a hood all seem to show seams across the diagonals of the box.
>> Or is that something you were planning to tackle in the second version?
>>
>
>Hmm...I did this quite awhile ago so I need to remember what I was 
>thinking at the time...
>When I began planning this hat the only pattern I had was the one from 
>Hill&Bucknell.
What is Hill&Bucknell?  Is that the same pattern as the Ninya Mikhaila 
one?

>It never seemed right to me because of two things: the Holbein back 
>view shows a perfect square, not the truncated square from that and 
>other patterns, and the Holbein drawings/paintings seem to indicate 
>that the hat is somewhat flexible and form fitting, sitting back from 
>the face. When I decided to try making one I decided to start from the 
>square back, then move forward, trying to determine which areas were 
>rigid and which were not.
> The stiff areas seemed to be that square at the back and angles just 
>around the face, particularly at the chin level, but there seemed to be 
>much less rigidity across the top of the head. I also wanted to work 
>more from the drawings than from the portraits, assuming, based on most 
>critiques of Holbein's work, that the sketches were more likely what he 
>SAW, whereas the portraits are more about what he wanted to SAY about 
>the sitter. It wasn't until after I made this that I saw the wire 
>frames at MOL, but was happy that, though they don't tell us everything 
>we want to know about these hats (oh, why didn't 16th century people 
>have a better sense of what 21st century reenactors would want, and 
>save us some examples!), they at least didn't utterly contradict the 
>design I tried.
>
>Anyway, the idea to start with a box and carry that line forward, with 
>enough rigidity around the face to keep the bottom edges from splaying 
>out, was what I was after. That part worked out well, I think. The next 
>big question was the veil/tails. I decided not to worry about them too 
>much on the first hat. I decided to just cut and sew what I saw from 
>the "back view" image, then see if that provided clues as to how it 
>might actually have been done, afterward.
Fair enough.  I've always meant to go back and try something with the 
tails permanently sewn in, but I've kind of drifted away from that 
period.

> I ended up doing a sort of origami covering of the box, with two 
>separate tails stitched on. This is not exactly how most of the other 
>drawings look, but the "back-view" drawing is a bit different from most 
>of the other drawings. I'm still thinking about this one. There are 
>plenty of 15th century examples of women wearing black headdresses 
>where the veil is shaped to the box-like back and then splays out from 
>there (I should add some of those to the site). The Holbein back view 
>definitely shows the tails extending at a 90 degree angle from the 
>bottom two sides of the box, and other drawings also seem to show the 
>same angle, though in several cases the tail is not tucked so tightly 
>against the edge. Hmm..that's not clear...I mean the back view tails 
>seem to be the width of each side of the box and emanate directly from 
>it, while others don't seem to be stitched directly to the bottom edges 
>of the box, rather, appear more loose. Oh, dear, I'm still not describing it well.
>
>On the sketches that have what might be seam lines, the line also seems 
>to extend at a 90 degree angle from that box bottom edge. Here:
>http://www.uvm.edu/~hag/sca/tudor/langdonpl34.jpg
>http://www.uvm.edu/~hag/sca/tudor/daunceydet.jpg
>http://www.uvm.edu/~hag/sca/tudor/parkerpl18.jpg
>http://www.uvm.edu/~hag/sca/tudor/ladysketch.jpg (maybe)
>The end of the "tails" also seems to be rectangular on most of these.
>So, for my next hat (one of these days!) I want to experiment with 
>using a rectangular or square fall, maybe cut in an upside-down L 
>shape, though that may not be necessary, and see where that takes me.
>
Hmm - I'm not sure if you thought from my post that I was commenting on 
the veil being in tails rather than the semi-circle I used.  That wasn't 
my intention, I just meant I had always thought, if you were going to 
use separate tails, they were joined on the centre of the box, with 
triangular shaping, rather than being sewn to the edge of the box.

But looking at "lady front and back" beside Lady Elyot, it is weird! 
You can see quite clearly on Lady Elyot's veil, that there is a quantity 
of fabric somehow folded round to form tails, and the front view of 
"lady front and back" looks just the same, but in the back view the 
tails look so flat, and there's the box added on the back.  It's very 
strange.

>The other big question mark is the "turban." I keep thinking that if 
>this was indeed a separate turban wrapped around the head it would lay 
>at such an angle that it would neither stand up and out from the head 
>as the drawings seem to show, nor would it fill in the angles of the 
>hat around the face in such a way as to make the stripes of the turban 
>appear to be directly at right angles to the inside hat edge. But maybe 
>I'm just envisioning the wrong kind of wrapping...And of course I 
>really like the way the back of this sort of interior hat band really 
>makes the hat fit well and sit securely on my head.
>
>So, lots of musing, sorry to drone on for so long. Thanks for the 
>opportunity to put some more thought into this hat. Maybe I'll actually 
>work on that second one some time soon! Then again, I also want to try 
>the French Hood. I have some strange ideas about that one, too, based 
>on French and Flemish paintings from the turn of the 15th/16th century.
>
>- Hope
>
It is good to think about this again, though I haven't time to do any 
experimenting just now (redecorating the hallway - seven panelled doors, 
with mouldings, and moulded doorframes, to strip and repaint!)  Maybe 
Kimiko will come up with some new ideas for us?

Jean


-- 
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Date: Sun, 19 Oct 2003 21:03:47 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] "Henry VIII" on TV tonight
References: <3F89D93C.5010406@thibault.org>
 <FOEDLIJMMAMODKMIIIMKGEIFCDAA.brujne@creighton.edu>
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I thought you might all like to share this nicely understated review, 
from the Guardian, reported in the Herald's (Glasgow Herald) weekend 
roundup:

"Cor blimey, it's Ray Winstone as serial marrier King 'Enery, wiv Helena 
Bonham Carter, speakin' proper like, as the Boleyn girl.
Childlike, beefy and brutal, you would be looking at Winstone for some 
time before you were reminded of a polished Renaissance prince."

Let me stress, this is NOT a BBC production (although it has to be said 
the Beeb has done some shockers in its time).  It is commercial, ITV, so 
who knows who might buy it on your side.

I tried www.itv.com, there may be more than just a synopsis to see, but 
I think it won't let me read the website right now because I should be 
watching the programme!

Jean

Cindy Abel <brujne@creighton.edu> wrote
>Has anyone heard when this might show on this side of the pond, so we Yanks
>might be able to see and critique the costumes? Nothing I like better than a
>historical flick, where I can talk back to the TV concerning historical
>accuracy visually and factually. BTW, was this a BBC production and is there
>a website?
>
>According to Amazon.uk, there is a new biog of Anne Boleyn scheduled for
>publication in 2004. No author given, though.
>
>Cindy Abel
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

-- 
Jean Waddie
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Subject: [h-cost] Word definition
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A friend of mine needs help with this word. Please reply privately to me
at <Cley@juno.com> if you know.

Thanks!
Arlys

> >    I am in need of having a word defined in English.  I am unable 
> to tell  if this word is German or Dutch, since both languages (along
with 
> > English) are in the book I'm trying to read.
> >    The word is "britsieren".  The subject matter has to do with my 
> research on ailettes.  


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Don't think it is German.  But I'd like to know what it is and also
ailettes!  You might want to contact Bjarne.

Sg


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Subject: [h-cost] Curled Cypress (was hose/stockings)
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> Message: 5
> Date: Sat, 18 Oct 2003 06:36:33 -0700
> From: kat@grendal.rain.com

> Cypress was a linen/silk blend. 


Hi Kat, thanks for your continued efforts to help. Could you please tell me where this is
written/verified as fact? I have found no such reference.



Bella

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Greetings Everyone,
   
  My kind friend, Arlys, didn't know I was on this List.  Thanks, Arlys 
for the assistance.  So if anyone has any ideas please let me know what 
"britsieren" is.

Roscelin
   

Cynthia J Ley wrote:

>A friend of mine needs help with this word. Please reply privately to me at <Cley@juno.com> if you know.
>
>Thanks!
>Arlys
>
>  
>
>>>   I am in need of having a word defined in English.  I am unable to tell  if this word is German or Dutch, since both languages (along with English) are in the book I'm trying to read.
>>>   The word is "britsieren".  The subject matter has to do with my research on ailettes.  
>>>      
>>>
>
>  
>

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To: "Historical Costume" <h-costume@indra.com>
References: <20031020002117.37426.qmail@web20203.mail.yahoo.com>
Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
Date: Sun, 19 Oct 2003 18:53:56 -0700
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Status: RO

Cypress as a linen/silk blend can be found in Linthicum's book Costume in
the Drama of Shakespeare and his Contemporaries.  She used Minsheu's Guide
unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers" and
Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or cypresse."
as references. Also from 1611 but not sure where, maybe Florio - "bauero, a
stuffe made of raw silk as curled cipers."  Cypress was a fabric from
Cypress, and it came in a plain or crepe weave.  If crepe, it was often
called "crespe", "crespin" or "creppin". - (Florio 1598 for this reference.)
Could also be called "curled cipers" vs. "plain cipers"

One day I'll get around to paying attention to whether or not wool crepe
existed, but I'm too tired for that now.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Bella" <bella_lucia_da_verona@yahoo.com.au>
To: <h-costume@indra.com>
Sent: Sunday, October 19, 2003 5:21 PM
Subject: [h-cost] Curled Cypress (was hose/stockings)


>
> > Message: 5
> > Date: Sat, 18 Oct 2003 06:36:33 -0700
> > From: kat@grendal.rain.com
>
> > Cypress was a linen/silk blend.
>
>
> Hi Kat, thanks for your continued efforts to help. Could you please tell
me where this is
> written/verified as fact? I have found no such reference.
>
>
>
> Bella
>
> http://personals.yahoo.com.au - Yahoo! Personals
> New people, new possibilities. FREE for a limited time.
> _______________________________________________
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Greetings to you Saragrace and everyone else,

     I still haven't found out what the first word means, but I can tell 
you what "ailettes" are.
      An ailette (or wing) was a piece of heraldric "armor" that was 
worn on the shoulder of armor during the late 13th to mid 14th 
centuries.  It is quite debateable if it was actually used as a 
protective piece or not.  Probably not since most of the time they were 
mainly made out of stiff leather and wrapped with silk or parchment. 
 The silk  could either be painted or embroidered and the parchment was 
painted.
      I have found out that they were not just simply shaped in a 
rectangle, but also in the shape of circles, flower, and one in the 
shape of a cross.  They were mainly worn by nobles, although, it is 
cited that sometimes the noble would have his whole army wear one with 
his heraldic device during combat.
      The ailette was usually worn on both shoulders displaying the 
wearer's heraldic device.  Except for those nobles who were jousting, 
then the ailette  would only be worn on the right shoulder, supposely 
because his shield (with his heraldric device) would be on his left side.

    If anyone has any questions please feel free to ask me.  I've been 
working on this research paper for sometime now and plan on teaching it 
at one of the local SCA tourneys next season.

Roscelin

Saragrace T. Knauf wrote:

>Don't think it is German.  But I'd like to know what it is and also
>ailettes!  You might want to contact Bjarne.
>
>Sg
>
>
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Date: Sun, 19 Oct 2003 23:12:14 -0700
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Tudor gable headdresses,
 was V&A 'Gothic: Art for  England 1400-1547' exhibition
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At 09:35 PM 10/19/2003 +0100, you wrote:
>Maybe Kimiko will come up with some new ideas for us?


Well Jean, I can but try.

It just will be a bit, after the gloves class is done, and definitely after 
this weekend's class in Japanese clothing. Boy has that one been an eye 
opener in many things, from clothing construction to natural dyeing 
techniques of the Japanese. It's with John Marshall, and I am just in heaven.

Well, off to sleep. I have one more day of this class.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Mon Oct 20 06:36:31 2003
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To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: RE: [h-cost] Interesting site
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Here's a site you might like to look at, especially if you're particularly 
interested in the Regency.
A colleague of mine, Candice Hern, regularly puts up collections of items 
on her website. She has fashion prints, vinaigrettes and other things. Take 
a look!
http://www.candicehern.com/collections/index.htm


Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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I think the objection to being seen in one's underwear before the 20th
century had more to do with social status than perceived indecency.
Working people might strip off their outer clothes for coolness, but
people of any social pretensions would consider it beneath their dignity
to be seen in public partially dressed. Eventually the blouse (US
shirtwaist?) was invented and the man's shirt ceased to be thought of as
underwear, so our perceptions gradually changed.


Kate Bunting
Library, University of Derby

>>> saragrace@earthlink.net 10/17/03 11:48pm >>>
I don't know much about it, but I don't think they shared the
Victorian
mores which we have.  The series "The History of Private Life" gives
some
insight.  People lived in close quarters, shared beds with many, didn't
have
"bathrooms" per se.  (If you look carefully in on of the Breughel (the
younger) paintings you can see a man waiting patiently while his
female
partner squats in the middle of the road to tinkle.)

I think we have to be really careful in applying our sensibilities to
their
circumstances.

Sg






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Kate Bunting
Library, University of Derby

>>> Stevie wrote:
> If you look at the zoom of the lady with a squirrel at:

>http://www.nationalgallery.org.uk/cgi-bin/WebObjects.dll/CollectionPub

>lisher.woa/wa/work?workNumber=NG6540

>you can see that the pelts are much smaller than one would expect
from
>a rabbit. Actually, I'm not even sure if they had white rabbit during
>this period; someday I must try and find out. There is something of a
joke
>with the red English squirrel frolicking near  something which would
>have tried to take its throat out if it were still alive...

Actually, it looks to me like the dark continental squirrel rather than
the red English variety (they're the same species, apparently). The lady
is English, so perhaps Holbein just painted it the colour he was used to
seeing at home in Germany?


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Ooooh, that sounds wonderful! (I've got his book ;o)
--sue, hoping you'll tell us more details after the class is over....

Kimiko Small wrote:
> 
> It just will be a bit, after the gloves class is done, and definitely after
> this weekend's class in Japanese clothing. Boy has that one been an eye
> opener in many things, from clothing construction to natural dyeing
> techniques of the Japanese. It's with John Marshall, and I am just in heaven.
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Subject: [h-cost] stocking bonus link...  hmmmmm ? 
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Hey Sue...  hi all...

an interesting site,  had a couple of pre 1650 archeological examples I 
hadn't seen.  But also mis-identified a couple of naalbinded items as 
knit.    And the drawings?   sigh.   I hope when they ever get the real 
thing built,  they invest some more resources into their scholarship.

Bridgette


>This looks very promising....You can get a "virtual tour" that reads
>like a series of little articles.  They seem pretty good, and I've not
>seen this site before, so I thought it worth passing on, especially
>since I (personally) haven't seen a whole lot (books or online stuff)
>that accesses German fashions.
>http://www.german-hosiery-museum.de/start.htm
>--sue

Mari Stewart
Cornell University


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Hose/stockings
Date: Mon, 20 Oct 2003 09:11:27 -0400
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Try here, Audrey:

http://www.sykesutler.com/

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Audrey Bergeron-Morin
Sent: 19 October 2003 12:35 AM
To: Historical Costume
Subject: Re: [h-cost] Re: Hose/stockings

Talking of stockings... 

Where can I buy something suitable for Elizabethan times? Preferably
wool?

Thanks!
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Word definition
To: Historical Costume <h-costume@indra.com>
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 http://www.dbnl.org/tekst/penn002jees01/penn002jees01_003.htm



Woorden die Vostaert nu en dan of een enkele keer
gebruikt, doch Penninc nooit: amie, amours, amys,
arriveeren, harnasc, asselgieren, bastaerdi,
battaelge, benedien, bisant, bottelgier, britsieren,
bruneeren, calandre, compagnie, confuus, conroet,
contrarie, contreie, cornuut, corsier, crayeren,
cufie, damosele, diverse, doblitse, exemple, faute,
felloen, festeeren, frotsieren, ghisarme, grein,
horeest, jaloers, jolijt, jolijs, jugieren, 




> Cynthia J Ley wrote:
> 
> >A friend of mine needs help with this word. Please
> reply privately to me at <Cley@juno.com> if you
> know.
> >
> >Thanks!
> >Arlys
> >
> >  
> >
> >>>   I am in need of having a word defined in
> English.  I am unable to tell  if this word is
> German or Dutch, since both languages (along with
> English) are in the book I'm trying to read.
> >>>   The word is "britsieren".  The subject matter
> has to do with my research on ailettes.  
> >>>      
> >>>
> >
> >  
> >
> 
> _______________________________________________
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http://mail.indra.com/mailman/listinfo/h-costumeme@mail.indra.com
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=====
Aurum peccamenes multifariam texit

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] bias binding
Date: Mon, 20 Oct 2003 08:54:06 -0400
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Bjarne wrote:
<<Linda Baumgarden from Colonial Williamsburg, that in all the material
she
had gone trough, she has never found a binding where bias cut is used.
This is for 18th century, but perhaps it was the same previously.
I have always binded the tabs in my stays with bias cut strips.>>

Bjarne, there are a number of extant 18th century stays that have the
edge bound in kid leather.  I have used this and it is very easy to work
with because the stretch is more controlled than a bias strip and yet
more stretchy than strips cut on the straight.  Give it a try sometimes.
Maybe you'll like it.

Kass

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From: Deredere Galbraith <triade@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Word definition
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http://www.dbnl.org/tekst/penn002jees01/penn002jees01_010.htm

britsieren, meerv. v. britsiere = vest, kledingstuk onder de wapenrok, 10615

I'll try to translate it.
Plural of britsiere=vest, Piece of clothing worn underneed a millitary coat
Hope this helps

Greetings,
        Deredere

Cynthia J Ley wrote:

>A friend of mine needs help with this word. Please reply privately to me
>at <Cley@juno.com> if you know.
>
>Thanks!
>Arlys
>
>  
>
>>>   I am in need of having a word defined in English.  I am unable 
>>>      
>>>
>>to tell  if this word is German or Dutch, since both languages (along
>>    
>>
>with 
>  
>
>>>English) are in the book I'm trying to read.
>>>   The word is "britsieren".  The subject matter has to do with my 
>>>      
>>>
>>research on ailettes.  
>>    
>>
>
>
>________________________________________________________________
>The best thing to hit the internet in years - Juno SpeedBand!
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] bias binding
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Did this again this weekend and my 'cabbage piece' was only about a 12"
square.  had to piece it a lot of course but got a strip about a yard plus.
It was just enough for the project!
Kathleen
----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 19, 2003 12:04 PM
Subject: Re: [h-cost] bias binding


>
> > It is so quiet, no mails today, so i thoaght i wanted to share with
> > you, Some of you perhaps know this all ready, but i was quite
> > surprised to read Linda Baumgarden from Colonial Williamsburg, that in
> > all the material she had gone trough, she has never found a binding
> > where bias cut is used. This is for 18th century, but perhaps it was
> > the same previously. I have always binded the tabs in my stays with
> > bias cut strips. They simply considered this extravagant. Right now i
> > am making  another corset for a costumer, and this time i will try to
> > use straight cut binding. I hate to bind the tabs, hate hate hate. as
> > you know, and straight material must be even harder to make.
>
> I think we all "hate" doing bindings. I still use bias a lot (because
> it comes pre-made and does go around corners more easily.)
>
> However, when I have done the straight binding it hasn't been as
> awful as I thought it would be. I just have to remember that I need
> it a little wider since straight bindings don't stretch like bias.
>
> And straight bindings are much easier to cut from the cabbage than
> bias so there is less waste. (I don't have to have fabric strictly
> meant for the bias. I can just use the cabbage/offcuts.)
>
> Kat
> <kat@redtrollforge.com>
>
>
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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] German brick stitch
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Hi folks... I had always heard it called "goblein" or "gobelin" work.  It 
does use a 'brick stitch' variation.  So here are some resources, not quite 
sure it's what you are looking for....


http://needlepoint.about.com/library/weekly/bl2-111697.htm

http://www.needlework.com/pattseries3pats/nw3-12.html

http://www.needlework.com/pattseries1pats/patts1stitch16.html

http://needlepoint.about.com/library/index/blstitchguide.htm

http://www.needlepointnow.com/OnLineClassroom/ACSK-4/Stitches.htm

Some of these should help you out.
Bridgette


> > Greetings all. I was wondering if anyone had any links to a good German
> > brickstitch site. By good, I mean it discusses materials, has graphs and
> > patterns and recognizable directions. I've already read the Complete
> > Anachronist issue on the subject, and got hopelessly lost; it looked to
> > me like part of the instructions were missing, but that could be because
> > I'm not good at reading embroidery directions. ;)
> >
> > Any and all help hugely appreciated.
> >
> > Thanks,
> > Arlys (music geek)
>_______________________________________________
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Mari Stewart
Cornell University


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Subject: Re: [h-cost] stocking bonus link...  hmmmmm ?
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Thanks for pointing that out! I just happened to see that link by
chance, and didn't spend a lot of time exploring the actual site.
It's kinda weird, isn't it, to find that you may know more about an item
than the museum does? I'd always thought museums knew *everything*,
until I got into more serious studying/recreation stuff.
--sue

M Stewart wrote:
> 
> Hey Sue...  hi all...
> 
> an interesting site,  had a couple of pre 1650 archeological examples I
> hadn't seen.  But also mis-identified a couple of naalbinded items as
> knit.    And the drawings?   sigh.   I hope when they ever get the real
> thing built,  they invest some more resources into their scholarship.
> 
> Bridgette
> 
> >This looks very promising....You can get a "virtual tour" that reads
> >like a series of little articles.  They seem pretty good, and I've not
> >seen this site before, so I thought it worth passing on, especially
> >since I (personally) haven't seen a whole lot (books or online stuff)
> >that accesses German fashions.
> >http://www.german-hosiery-museum.de/start.htm
> >--sue
> 
> Mari Stewart
> Cornell University
> 
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Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
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> > Cypress was a linen/silk blend. 
> Hi Kat, thanks for your continued efforts to help. Could you please
> tell me where this is written/verified as fact? I have found no such
> reference.

I've seen it referenced in several textile history books. However, 
it's definitely in the Linthicum book I mentioned.

Kat
<kat@redtrollforge.com>


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> Actually, it looks to me like the dark continental squirrel rather
> than the red English variety (they're the same species, apparently).
> The lady is English, so perhaps Holbein just painted it the colour he
> was used to seeing at home in Germany?

Unless he was just using it for iconography, it may have been a pet. 
Although I can't remember where, I've read that squirrels were 
sometimes kept as pets. In that case it may have been an imported 
squirrel.

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] RE: Pants Question - Pattern
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I've seen this mentioned somewhere else before.  Okay for a complete newbie
to sewing, what is the "true waist"?  Being thin and boney anything belted
or tied will slide down until it rests on my hip bones.  

I've been considering adding ties onto the inside of my doublet that I could
easily lace the pants to, to keep them higher.  Currently I'm using the
pants tied with a ribbon, overlapped by the bottom of the doublet, with a
thick belt on top of it all.  I had been told that was the period style,
that the pants were fitted and not directly attached to a belt or
drawstring.  Unfortunatly as I mentioned I need that tie around the waist
because the belt won't hold the pants up that off my hips.  After walking
around awhile the belt itself will eventually lower a little itself.  Ties
inside the doublet to keep the pants up would work but it seems like it
would be awkward to have to open the doublet everytime I wanted to adjust
it.

Maybe I could add ties between the lower flaps on the doublet. (I know they
have a name and it's still buggin me I can't remember it.)  It wouldn't be
noticeable, it would keep the pants a little higher, and could be
potentially covered up by the belt anyway.....

I have pics from the dance event I did this weekend in costume.  Once I get
them scanned this afternoon I'll post the ones with the best view of the
entire outfit.  Just to let everyone else see what they've been helping me
with.


Bjorn Arnaldsson

> > Period Patterns 58
> > Men's Elizabethan Garments Patterns
> 
> Well... Period Patterns are not usually considered such good patterns.
> They're tricky to use and the layout is often confusing. I 
> came out with
> nice things when using their patterns, but I'm not surprised 
> you had trouble
> with it.
> 
> > ((When I say short, without the flaps the bottom on the
> > back of the doublet is about 3 or 4 vertebre higher then 
> where I normally
> > wear my pants at.  Mundane or garb.))
> 
> Hm, if you wear your pants lower than your true waist, which 
> is true of most
> people, then you'll always have gapping problems, no matter 
> which pattern
> you use. Elizabethan pants are meant to be worn at your true waist.
> 
> ------------------------------
> 
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Date: Mon, 20 Oct 2003 09:19:40 -0700
Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Kimiko, the theatrical buckram is indeed the double buckram.

That's why we're on h-costume - to share all the good stuff and commiserate
and offer suggestions when it doesn't go well. I learned this from a guy who
works in Hollywood, Jeff Shoenberg, who also has taught classes at Costume
College (felt hats, Abusing Feathers, Safety for Costumers, etc.). Last year
he came up and taught a small group how to make an Elizabethan hat over a
period of six weeks - tall hats, attifettes, french hoods.  They all turned
out great! He gave us that hint and my hat brim is perfect; it doesn't bend,
it doesn¹t go Anywhere!

Lynn

On 10/17/03 5:13 PM, "Kimiko Small" <kimiko@kimiko1.com> wrote:

> At 01:31 PM 10/17/2003 -0700, you wrote:
>> Hats by Leko is good, quick. Order the double buckram.
>> http://www.hatsupply.com/
> 
> 
> Hi LynnD!!
> 
> I remember you.  :-)
> 
> At Hats by Leko, I see Buckram, and Theatrical Buckram. Is the theatrical
> buckram also the double buckram?
> 
> And thanks for the additional info on doubling the buckram. I was wondering
> how stiff it had to be, and I will be making my dh a hat for him as well,
> so knowing the buckram will have to be tripled is very helpful. He crushes
> his tam as it is.
> 
> Kimiko
> 
> 
> 
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
> 
> _______________________________________________
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Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
From: Lynn Downward <LDownward@chori.org>
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I don't know what she sells, but a flannelette is what we used the first
time I took a hat class. It's soft without being bulky. I've also been
taught to use something called french fleece, but it's really hard to find
and about $12/yard, although it does stretch.  Like anything else, you use
what you need to give you the look you want.  If you want a sharp shape,
regular quilting batting won't work. I don't know what kind of millinery
batting she's using, but maybe she has the french fleece. It's also used in
tailoring for men's suits, especially in the shoulders and chest.

Lynn

On 10/17/03 5:17 PM, "Kimiko Small" <kimiko@kimiko1.com> wrote:

> At 03:22 PM 10/17/2003 -0500, you wrote:
>> Try http://www.patternstudio.com/products/millinery/index.html,
>> 
>> She has very good supplies at very reasonable prices. I have been told
>> that her prices are some of the best this side of the atlantic. :)
>> 
>> Chiara
> 
> 
> Looks good so far. Minimum order is only $10, although with the extra
> buckram LynnD mentioned, I think I will be sending off for much more, and
> they have batting as well.
> 
> Would the millinery batting be the same or similar to the batting used in
> quilting? Or would quilt batting be too fluffy? I have the Warm and
> Natural, and Hobbs Heirloom Premium cotton battings.
> 
> Kimiko
> 
> 
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
> 
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
> 
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> I've been considering adding ties onto the inside of my doublet that I
> could easily lace the pants to, to keep them higher.

In most periods where they used a doublet, men's breeches were tied 
directly to the doublet at the lower edge. In extant garments you can 
find the eyelets for doing this either directly on the bottom of the 
garment or in a separate lacing strip applied to the wrong side of 
the lower edge of the doublet. (See, for instance, Janet Arnold's 
_Patterns of Fashion 1560-1620_.)

If doing very active work (like executioners) you see in the 
paintings and manuscripts that they let them go and just have droopy 
drawers with the shirts hanging out. But the lacing is still quite 
visible and I suspect that they would have put themselves back 
together again soon after. (Except the drunkards, who seem to sit 
around with things all kattywompus anyway.) (Try looking at Ruth 
Matilda Anderson's _Hispanic Costuming_ for some clearer ideas of 
what I'm describing.)

>   After walking around awhile the belt itself will eventually
> lower a little itself.  Ties inside the doublet to keep the pants up
> would work but it seems like it would be awkward to have to open the
> doublet everytime I wanted to adjust it.

>From what I can tell, belts were more of an accessory or something to 
hang your sword or moneybag (ie purse) on than to hold up one's 
breeches. They were usually not put on in such a way that they would 
perform that sort of task.

> Maybe I could add ties between the lower flaps on the doublet. (I know
> they have a name and it's still buggin me I can't remember it.)  It
> wouldn't be noticeable, it would keep the pants a little higher, and
> could be potentially covered up by the belt anyway.....

Do you mean the skirts of the doublet (which often hid the lacing 
strip) or added pickadils (which could do the same thing).

What time period exactly are you doing? It sounds like you are doing 
some sort of Elizabethan. Perhaps people could send you some URLs 
which would help you to see what I am describing if you can't get the 
books I've mentioned.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Internet or mail order sources for hat supplies?
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Kimiko,

I would go with Lynn's recommendations as I only deal with the pattern
studio glove wise when I have no other way of getting what I need supply
wise and all my driving distance suppliers is tapped. She is my savior
sometimes. :)

The other hat maker on this list would be Catalina, our resident spanish
costumer. I saw her last round of hats at an event recently and just died!

This little italian girl is now honestly thinking to going spanish, that
is how much her hats inspired me. Hey, I am 1/4 spanish ... I think ...
South American ancestry counts right? ;)

Chiara

Lynn Downward said:
> I don't know what she sells, but a flannelette is what we used the first
> time I took a hat class. It's soft without being bulky. I've also been
> taught to use something called french fleece, but it's really hard to
> find and about $12/yard, although it does stretch.  Like anything else,
> you use what you need to give you the look you want.  If you want a
> sharp shape, regular quilting batting won't work. I don't know what kind
> of millinery batting she's using, but maybe she has the french fleece.
> It's also used in tailoring for men's suits, especially in the shoulders
> and chest.
>
> Lynn
>
> On 10/17/03 5:17 PM, "Kimiko Small" <kimiko@kimiko1.com> wrote:
>
>> At 03:22 PM 10/17/2003 -0500, you wrote:
>>> Try http://www.patternstudio.com/products/millinery/index.html,
>>>
>>> She has very good supplies at very reasonable prices. I have been
>>> told that her prices are some of the best this side of the atlantic.
>>> :)
>>>
>>> Chiara
>>
>>
>> Looks good so far. Minimum order is only $10, although with the extra
>> buckram LynnD mentioned, I think I will be sending off for much more,
>> and they have batting as well.
>>
>> Would the millinery batting be the same or similar to the batting used
>> in quilting? Or would quilt batting be too fluffy? I have the Warm and
>> Natural, and Hobbs Heirloom Premium cotton battings.
>>
>> Kimiko
>>
>>
>> Kimiko Small
>> Costumer, Fiber Artist, Web Designer, Wife and Mother
>> kimiko@kimiko1.com; http://www.kimiko1.com
>> "When there is fear, there is no creativity" ~ C. Lowell
>>
>> Graphic Intern at Costume Gallery
>> http://www.costumegallery.com
>>
>> _______________________________________________
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>
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From: Teena Kessinger  <bkessinger@ureach.com>
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I bought the proceedings on CD and though I haven't yet had a
chance to check it out, if the notes are on it I will gladly
email them to you.

Teena





---- On Fri, 17 Oct 2003, Chiara (chiara@io.com) wrote:

> I would like to know if someone going to the Costume symposium
that will
> be taking the glove class could please grab an extra set of
notes and
> everything for me. I will reinburse you any costs for them.
Please contact
> me asap. I have made several requests of local folks that are
going but no
> one has responded. I am heart broken that I am not going to be
able to go
> so please, if you can, help.
> 
> Chiara
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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> 

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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	<001d01c39704$953a5fc0$655183d1@rmitchellras>
Subject: Re: [h-cost] bias binding
Date: Mon, 20 Oct 2003 20:54:56 +0200
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Hi Kat.
Yes you are right, it is not as difficult as i thoaght it might be.
I simply whipstitch the binding to the tabs on the backside, and then i turn
and fold, and use some other stitches, wich i dont know what is called in
english, to make a nice front.
I am making this corset in silk taffeta, and it is very hard to stitch in,
but it goes, all right.
I think it would be much easyer to stitch in linen.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 20, 2003 2:20 PM
Subject: Re: [h-cost] bias binding


> Did this again this weekend and my 'cabbage piece' was only about a 12"
> square.  had to piece it a lot of course but got a strip about a yard
plus.
> It was just enough for the project!
> Kathleen
> ----- Original Message -----
> From: <kat@grendal.rain.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Sunday, October 19, 2003 12:04 PM
> Subject: Re: [h-cost] bias binding
>
>
> >
> > > It is so quiet, no mails today, so i thoaght i wanted to share with
> > > you, Some of you perhaps know this all ready, but i was quite
> > > surprised to read Linda Baumgarden from Colonial Williamsburg, that in
> > > all the material she had gone trough, she has never found a binding
> > > where bias cut is used. This is for 18th century, but perhaps it was
> > > the same previously. I have always binded the tabs in my stays with
> > > bias cut strips. They simply considered this extravagant. Right now i
> > > am making  another corset for a costumer, and this time i will try to
> > > use straight cut binding. I hate to bind the tabs, hate hate hate. as
> > > you know, and straight material must be even harder to make.
> >
> > I think we all "hate" doing bindings. I still use bias a lot (because
> > it comes pre-made and does go around corners more easily.)
> >
> > However, when I have done the straight binding it hasn't been as
> > awful as I thought it would be. I just have to remember that I need
> > it a little wider since straight bindings don't stretch like bias.
> >
> > And straight bindings are much easier to cut from the cabbage than
> > bias so there is less waste. (I don't have to have fabric strictly
> > meant for the bias. I can just use the cabbage/offcuts.)
> >
> > Kat
> > <kat@redtrollforge.com>
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
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Ooooohhhhh! Thank you for posting the link! I *love* the Regency
period and regularly mourn the lack of groups in my area.



---- On Mon, 20 Oct 2003, Lynne Connolly
(lynneconnolly@ntlworld.com) wrote:

> Here's a site you might like to look at, especially if you're
particularly 
> interested in the Regency.
> A colleague of mine, Candice Hern, regularly puts up
collections of items 
> on her website. She has fashion prints, vinaigrettes and other
things. Take 
> a look!
> http://www.candicehern.com/collections/index.htm
> 
> 
> Lynne Connolly, GSOLFOT
> Award winning Historical Romance author.
> http://homepage.ntlworld.com/lynneconnolly/
> The Richard and Rose books from 
>
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/>
Inc.
> YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
> <http://www.awe-struck.net/>Awe-Struck
> 
> 
> 
> 
> 
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Subject: [h-cost] OT-wedding dress
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A friend of a friend has asked me for ideas on how to
dress up a very plain wedding dress. I suggested
beads, ribbons, applique type things. Does anyone have
a good photo of some beaded lace or some such that I
can send her?  i would appreciate the help.

=====
Aurum peccamenes multifariam texit

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> I've seen this mentioned somewhere else before.  Okay for a complete
newbie
> to sewing, what is the "true waist"?  Being thin and boney anything belted
> or tied will slide down until it rests on my hip bones.

I have absolutely no experience with men's bodies, but on a woman it's
easier to see, unless she is overweight... The true waist would be a couple
of inches above the hip bone, where the waist is more narrow. Think the
narrowest point of a hourglass. It's the same thing for a man, but since
they don't have hips it's not quite as easy to see. A trick that is used
sometimes is to tie a string to your waist and move from side to side and
twist around, the rope should settle at your true waist. Of course, it won't
work with everyone.

The true waist is much higher than we wear our pants nowadays, because
current fashion is low-waisted.

My own waist is about the same height as my belly button, but don't take
this as an absolute guide, it might vary from person to person.
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Subject: Re: [h-cost] KWCS request
From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
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Thanks! :)

Teena Kessinger said:
> I bought the proceedings on CD and though I haven't yet had a
> chance to check it out, if the notes are on it I will gladly
> email them to you.
>
> Teena
>
>
>
>
>
> ---- On Fri, 17 Oct 2003, Chiara (chiara@io.com) wrote:
>
>> I would like to know if someone going to the Costume symposium
> that will
>> be taking the glove class could please grab an extra set of
> notes and
>> everything for me. I will reinburse you any costs for them.
> Please contact
>> me asap. I have made several requests of local folks that are
> going but no
>> one has responded. I am heart broken that I am not going to be
> able to go
>> so please, if you can, help.
>>
>> Chiara
>>
>>
>> _______________________________________________
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>>
>>
>
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From h-costume-bounces@indra.com  Mon Oct 20 16:16:07 2003
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Date: Mon, 20 Oct 2003 13:19:49 -0700
Subject: Re: [h-cost] RE: Pants Question - Pattern
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I've found that if you use elastic rather than string you'll find your waist
more easily.

LynnD

On 10/20/03 12:55 PM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

>> I've seen this mentioned somewhere else before.  Okay for a complete
> newbie
>> to sewing, what is the "true waist"?  Being thin and boney anything belted
>> or tied will slide down until it rests on my hip bones.
> 
> I have absolutely no experience with men's bodies, but on a woman it's
> easier to see, unless she is overweight... The true waist would be a couple
> of inches above the hip bone, where the waist is more narrow. Think the
> narrowest point of a hourglass. It's the same thing for a man, but since
> they don't have hips it's not quite as easy to see. A trick that is used
> sometimes is to tie a string to your waist and move from side to side and
> twist around, the rope should settle at your true waist. Of course, it won't
> work with everyone.
> 
> The true waist is much higher than we wear our pants nowadays, because
> current fashion is low-waisted.
> 
> My own waist is about the same height as my belly button, but don't take
> this as an absolute guide, it might vary from person to person.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Mon Oct 20 16:26:15 2003
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Date: Mon, 20 Oct 2003 13:07:51 -0700
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: [h-cost] Re: (h-cost] was: pattern wish list/shameless plug
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>Rima,
>
>Atlanta/Decatur April,2004, Palm Sunday weekend, Costume Con.  Come play
>with us. ; >

oh geez, don't I wish!

I'll ask Santa Husband.....

Rima

>
>Genie
>----- Original Message -----
>From: "Rima" <rima@anet.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Wednesday, October 15, 2003 5:41 PM
>Subject: Re: Re: [h-cost] re. pattern wish list
>
>
>>  >Ooh and the men's Regency stuff! You see the Georgian and
>>  >Victorian sometimes but rarely the Regency. I have some gowns
>>  >for myself, but have no idea how to do something for my
>>  >husband.... not that we have anywhere to wear it now that we
>>  >live in Atlanta... but still, I want it!
>>  >
>>  >Teena
>>
>>
>>  OOOOOO and RESTORATION stuff!    The only Restoration pattern I know
>>  out there is Richard the Thread, and I didn't get great results with
>>  it.....
>>
>>  Guess I'll have to draft that one myself too.... unless someone knows
>>  a pattern out there that can rescue me!
>>
>>  Rima
>>  _______________________________________________
>>  h-costume mailing list
>>  h-costume@mail.indra.com
>>  http://mail.indra.com/mailman/listinfo/h-costume
>
>
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From: joanna hobbins <jhobbi2@po-box.mcgill.ca>
To: Historical Costume <h-costume@indra.com>
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Subject: RE: [h-cost] RE: Pants Question - Pattern
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Status: RO

Another way to find your waist it to stand up with your feet about shoulder 
width apart and bend to the side.  The point where your side creases is your 
waist.

Joanna

>===== Original Message From Historical Costume <h-costume@indra.com> =====
>I've found that if you use elastic rather than string you'll find your waist
>more easily.
>
>LynnD
>
>On 10/20/03 12:55 PM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>wrote:
>
>>> I've seen this mentioned somewhere else before.  Okay for a complete
>> newbie
>>> to sewing, what is the "true waist"?  Being thin and boney anything belted
>>> or tied will slide down until it rests on my hip bones.
>>
>> I have absolutely no experience with men's bodies, but on a woman it's
>> easier to see, unless she is overweight... The true waist would be a couple
>> of inches above the hip bone, where the waist is more narrow. Think the
>> narrowest point of a hourglass. It's the same thing for a man, but since
>> they don't have hips it's not quite as easy to see. A trick that is used
>> sometimes is to tie a string to your waist and move from side to side and
>> twist around, the rope should settle at your true waist. Of course, it 
won't
>> work with everyone.
>>
>> The true waist is much higher than we wear our pants nowadays, because
>> current fashion is low-waisted.
>>
>> My own waist is about the same height as my belly button, but don't take
>> this as an absolute guide, it might vary from person to person.
>> _______________________________________________
>> 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-bounces@indra.com  Mon Oct 20 17:18:42 2003
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Subject: Re: [h-cost] finding the waist RE: Pants Question - Pattern
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The medical sites that talk about waist measurements say to put your 
hand at your side.  Feel the top of your pelvis (at the side) and the 
lowest rib, and halfway between them is your waist.  This is one point 
on a horizontal circle/oval that is your waistline.

Those of us who are fat usually wear our waistbands "dropped" in the 
front, because that's the way fat settles/accretes, so there's a natural 
indentation that's *not* at the waist.  So if we have a skirt that's not 
hemmed especially for us, the hem is noticably lower in the front!  And 
ready-made men's pants are poofier on plump guys (in the front) for the 
same reason.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Crivens!
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From h-costume-bounces@indra.com  Mon Oct 20 17:53:48 2003
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 <001601c396ad$06a9b640$3e2ea5d1@pavilion>
Date: Mon, 20 Oct 2003 14:50:36 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
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At 6:53 PM -0700 10/19/03, Lisa Sinervo wrote:
>Cypress as a linen/silk blend can be found in Linthicum's book Costume in
>the Drama of Shakespeare and his Contemporaries.  She used Minsheu's Guide
>unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers" and
>Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or cypresse."
>as references. Also from 1611 but not sure where, maybe Florio - "bauero, a
>stuffe made of raw silk as curled cipers."  Cypress was a fabric from
>Cypress, and it came in a plain or crepe weave.  If crepe, it was often
>called "crespe", "crespin" or "creppin". - (Florio 1598 for this reference.)
>Could also be called "curled cipers" vs. "plain cipers"

Interesting. If that's what her original sources said, I would be 
more likely to interpret it quite differently. Finding it described 
in one place as silk and in a different place as linen would 
certainly _not_ lead me to interpret it as a linen/silk blend -- 
rather I would think it was a description of how the fabric looked or 
was woven, regardless of fiber content. I would also want to see more 
documentation of what "crespe" or "creppin" meant in period. My 
understanding is that this is one of the problems with Linthicum -- 
that it relies exclusively on a few types of documentary evidence, 
rather than taking other things into account.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
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Chris Laning wrote:
> I would also want to see more documentation of what 
> "crespe" or "creppin" meant in period.

The word seems similar, so I'll add a tangent:

On another list, we were trying to figure out where the term 
"crespinette" came from.  Someone did a lot of hunting and found 
http://www.saveurs.sympatico.ca/ency_6/triperie/crepine.htm which 
describes _la crépine_ as the fatty membrane around a cow's intestine. 
There's a picture at the site.

It looks rather like a net, which makes the link to crespinette 
plausible (plus apparently crespinette is the term for a sausage wrapped 
in the stuff and fried, and crespinettes look rather like sausages), but 
now tht I'm looking at it again, it also looks a bit like the random 
ridges in some crepe fabrics.  At present, all that had been found were 
these modern examples, but it may be a thread which can be followed back 
into history.  Is there a French equivalent of the OED?

(see also
http://translate.google.com/translate?u=http%3A%2F%2Fwww.saveurs.sympatico.ca%2Fency_6%2Ftriperie%2Fcrepine.htm&langpair=fr%7Cen&hl=en&ie=Unknown&oe=ASCII
for rough translation)
-- 
Cynthia Virtue
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
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> Message: 8
> Date: Sun, 19 Oct 2003 18:53:56 -0700
> From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> Subject: Re: [h-cost] Curled Cypress (was hose/stockings)

> Cypress as a linen/silk blend can be found in Linthicum's book Costume in
> the Drama of Shakespeare and his Contemporaries.  She used Minsheu's Guide
> unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers" and
> Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or cypresse."
> as references. Also from 1611 but not sure where, maybe Florio - "bauero, a
> stuffe made of raw silk as curled cipers."  Cypress was a fabric from
> Cypress, and it came in a plain or crepe weave.  If crepe, it was often
> called "crespe", "crespin" or "creppin". - (Florio 1598 for this reference.)
> Could also be called "curled cipers" vs. "plain cipers"


Thank you Lisa! I'm actually transcribing Florio right now (and will be for many a day!), and his
definition "bauero, a stuffe made of raw silk as curled cipers" is the one I'm going by. According
to him, curled cypress is a silk fabric, not a linen/silk blend, so this is re-affirmation. Where
the confusion on this thread is happening is that curled cypress and just plain old cypress were 
getting confused.


Bella
The Realm of Venus
http://realmofvenus.renaissancewoman.net


 


http://personals.yahoo.com.au - Yahoo! Personals
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Hose/stockings
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Thanks Sue and Kass.

One day I'll knit my own. Right now there are too many projects given the
number of hours in a year :-)

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On Behalf Of Audrey Bergeron-Morin
> Sent: 19 October 2003 12:35 AM
> To: Historical Costume
> Subject: Re: [h-cost] Re: Hose/stockings
>
> Talking of stockings...
>
> Where can I buy something suitable for Elizabethan times? Preferably
> wool?
>
> Thanks!
> _______________________________________________
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Subject: Re: [h-cost] Re: Hose/stockings
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Given that stockings, even knit ones in the Elizabethan time period had
seams running down the back of the hose, I think sewing a pair from some
purchased knit fabric would not be a terribly bad substitute.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 20, 2003 7:28 PM
Subject: Re: [h-cost] Re: Hose/stockings


> Thanks Sue and Kass.
>
> One day I'll knit my own. Right now there are too many projects given the
> number of hours in a year :-)
>
> > -----Original Message-----
> > From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> > On Behalf Of Audrey Bergeron-Morin
> > Sent: 19 October 2003 12:35 AM
> > To: Historical Costume
> > Subject: Re: [h-cost] Re: Hose/stockings
> >
> > Talking of stockings...
> >
> > Where can I buy something suitable for Elizabethan times? Preferably
> > wool?
> >
> > Thanks!
> > _______________________________________________
> > 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@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
Date: Mon, 20 Oct 2003 20:34:48 -0700
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I would not interpret these quotes as a blend either Chris.  These sources
say silk or linen not a combination but I do have a very interesting book
called "The New Draperies in the Low Countries and England" that I have
skimmed through that deals quite a bit with silk/linen/cotton/wool blends
and somehow in my head I seem to recall a silk/linen combo called Cypress
but I could be wrong.  I've a nasty flu at the moment, but after some sleep
I'll have a look and see if my memory serves me correctly.

Lisa Sinervo


----- Original Message -----
From: "Chris Laning" <claning@igc.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 20, 2003 2:50 PM
Subject: Re: [h-cost] Curled Cypress (was hose/stockings)


> At 6:53 PM -0700 10/19/03, Lisa Sinervo wrote:
> >Cypress as a linen/silk blend can be found in Linthicum's book Costume in
> >the Drama of Shakespeare and his Contemporaries.  She used Minsheu's
Guide
> >unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers" and
> >Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or
cypresse."
> >as references. Also from 1611 but not sure where, maybe Florio - "bauero,
a
> >stuffe made of raw silk as curled cipers."  Cypress was a fabric from
> >Cypress, and it came in a plain or crepe weave.  If crepe, it was often
> >called "crespe", "crespin" or "creppin". - (Florio 1598 for this
reference.)
> >Could also be called "curled cipers" vs. "plain cipers"
>
> Interesting. If that's what her original sources said, I would be
> more likely to interpret it quite differently. Finding it described
> in one place as silk and in a different place as linen would
> certainly _not_ lead me to interpret it as a linen/silk blend --
> rather I would think it was a description of how the fabric looked or
> was woven, regardless of fiber content. I would also want to see more
> documentation of what "crespe" or "creppin" meant in period. My
> understanding is that this is one of the problems with Linthicum --
> that it relies exclusively on a few types of documentary evidence,
> rather than taking other things into account.
> --
> _________________________________________________________
> O    Chris Laning
> |     <claning@igc.org>
> +    Davis, California
> _________________________________________________________
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Subject: [h-cost] Thanks for word def.
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Greetings to one all,
     Thank you to everyone who has helped me out with the myserterious 
word.  I wish I could reply to each of you, but I'm right in the middle 
of class/home work.
      Yes, the word did turn out to be from the Netherlands.  What is 
now confusing is that in the book I originally got the word from, the 
author is using it alternately with "ailette".  Which some of us already 
know is French for "wing" of "fin".   Can anyone help me figure out how 
in the world the author could be using a word meaning "gambison" with a 
word that means "wing" or "fin"?   Also note, that the ailette is worn 
outside of the armor at the shoulders.  And the gambison is worn under 
the armor.
       I'm confused!  Or my mind is just bonkers because of my 
class/home work. :)
       Thank you again for your wonderful help.  I really do appreciate it.

In the Service of Many Dreams,
Roscelin


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> Yes you are right, it is not as difficult as i thoaght it might be. I
> simply whipstitch the binding to the tabs on the backside, and then i
> turn and fold, and use some other stitches, wich i dont know what is
> called in english, to make a nice front. I am making this corset in
> silk taffeta, and it is very hard to stitch in, but it goes, all
> right. I think it would be much easyer to stitch in linen.

I'm glad it's going so well for you!

Linen might be easier to use since it tends to be "stretchier" than 
silk. (It tends to walk all over even if it's supposedly "straight".)

Of course, there is always the fallback on soft leather for another 
one. ;)

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Re: Hose/stockings
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----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> Given that stockings, even knit ones in the Elizabethan time period had
> seams running down the back of the hose...

They did?
Wow, I didn't even know. Where can I find examples of this?
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Subject: Re: [h-cost] Re: Hose/stockings
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A couple of images with seams in the back of stockings showing are
http://www.thrednedlestrete.com/morse/p92.htm - this one is very nice with
seam clearly shown on man in lower left corner
http://www.thrednedlestrete.com/morse/p98.htm - the next two are a little
unclear in the scans, but my book clearly shows seams, but who knows if
these are knit?
http://www.thrednedlestrete.com/morse/p99.htm

Stubbes though  has a line ""Then have they nether-stocks to these gay
hosen, not of cloth...for that is thought to base... and so curiouslye knit
with open seam down the leg, with quirks and clocks about the ancles, and
sometime (haply) interlaced with gold or silver threds, as is wunderful to
behold."

I know knitting machines were invented during Elizabeth's reign, but I have
yet to run across how they worked, if they produced flat knitwear or knitted
in the round.  Another thing I'm looking out for.

Still, I think a pair of stockings sewn from knitted fabric would be a huge
improvement over lycra tights.

Lisa Sinervo
www.thrednedlestrete.com

----- Original Message -----
From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 20, 2003 10:33 PM
Subject: Re: [h-cost] Re: Hose/stockings


>
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> > Given that stockings, even knit ones in the Elizabethan time period had
> > seams running down the back of the hose...
>
> They did?
> Wow, I didn't even know. Where can I find examples of this?
> _______________________________________________
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From: Deredere Galbraith <triade@kabelfoon.nl>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Thanks for word def.
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In dutch ailette means neckprotector

Roscelin wrote:

> Greetings to one all,
>     Thank you to everyone who has helped me out with the myserterious 
> word.  I wish I could reply to each of you, but I'm right in the 
> middle of class/home work.
>      Yes, the word did turn out to be from the Netherlands.  What is 
> now confusing is that in the book I originally got the word from, the 
> author is using it alternately with "ailette".  Which some of us 
> already know is French for "wing" of "fin".   Can anyone help me 
> figure out how in the world the author could be using a word meaning 
> "gambison" with a word that means "wing" or "fin"?   Also note, that 
> the ailette is worn outside of the armor at the shoulders.  And the 
> gambison is worn under the armor.
>       I'm confused!  Or my mind is just bonkers because of my 
> class/home work. :)
>       Thank you again for your wonderful help.  I really do appreciate 
> it.
>
> In the Service of Many Dreams,
> Roscelin
>
>
> _______________________________________________
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To: h-costume@indra.com
From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: Re: [h-cost] Curled Cypress (was hose/stockings)
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At Mon, 20 Oct 2003 19:34:18 -0400, Cynthia Virtue 
<cvirtue+dated+1082245311.d36511@thibault.org> wrote:

>Is there a French equivalent of the OED?

I believe _le Petit Robert_ is what is used, or something else _Robert_ (I 
don't recall exactly offhand). I remember being told that it was something 
like 17 volumes...

Audrey, perhaps you're more familiar with? (Or do most people you know use 
Canadian-French dictionaries?)


Brenda
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Date: Tue, 21 Oct 2003 08:27:11 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Re: Hose/stockings
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Hi Lisa,

      What great images and quote!  I'm a bit curious what Stubbes 
meant by "open seam down the leg".  If it was a seam, that implies it 
was sewn closed.  ??

      I've been researching 18thC stockings, and while I also enjoy 
the earlier examples I have not studied them as much.  In hand-knit 
hose, a purl stitch is usually made down the center back, giving the 
appearance of a seam.  Maybe this is a style after hose cut on the 
bias of woven cloth and sewn.  I don't know exactly how early the 
purl "seam" appeared in hand knit hose, but it was definitely there 
by the 18thC.  The Gunnister hose have the purl "seam", and they're 
17thC.

      Circular knitting machines were invented around 1790 and were 
used for stockings in the early 19th century.  Lee's frame (the 
Elizabethan era invention) knit flat, and the fabric was shaped on 
the frame (with decreases at the edges of the fabric), and then sewn 
up the back with a separate sole piece.

      Diderot's Encyclopedia has a great set of diagrams on the 
mechanism of a knitting frame, and many books on the history of 
knitting include a diagram.  We've discussed frame knitting on the 
historic knit list (HistoricKnit, a Yahoo group), and the photo 
archives include pictures of hand frames and my own hastily-drawn 
pictures of the mechanism.  The Lee style frames were used into the 
20th century, and several working frames still are demonstrated at 
museums in England.

      I agree that hose cut & sewn from knit fabric are better than 
lycra tights.  Kannik's Korner has a pattern for cut & sewn hose.   I 
haven't been able to find a knit fabric that's close to what I see in 
original hose, because originals were not stretchy.

      -Carol Kocian


>A couple of images with seams in the back of stockings showing are
>http://www.thrednedlestrete.com/morse/p92.htm - this one is very nice with
>seam clearly shown on man in lower left corner
>http://www.thrednedlestrete.com/morse/p98.htm - the next two are a little
>unclear in the scans, but my book clearly shows seams, but who knows if
>these are knit?
>http://www.thrednedlestrete.com/morse/p99.htm
>
>Stubbes though  has a line ""Then have they nether-stocks to these gay
>hosen, not of cloth...for that is thought to base... and so curiouslye knit
>with open seam down the leg, with quirks and clocks about the ancles, and
>sometime (haply) interlaced with gold or silver threds, as is wunderful to
>behold."
>
>I know knitting machines were invented during Elizabeth's reign, but I have
>yet to run across how they worked, if they produced flat knitwear or knitted
>in the round.  Another thing I'm looking out for.
>
>Still, I think a pair of stockings sewn from knitted fabric would be a huge
>improvement over lycra tights.
>
>Lisa Sinervo
>www.thrednedlestrete.com
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Lisa Sinervo wrote:

> Stubbes though  has a line ""Then have they nether-stocks to these gay
> hosen, not of cloth...for that is thought to base... and so curiouslye knit
> with open seam down the leg, with quirks and clocks about the ancles, and
> sometime (haply) interlaced with gold or silver threds, as is wunderful to
> behold."

I would interpret "open seam down the leg" as referring to vertical 
lines of decorative knitwork, as can be seen in Eleonora's stockings in 
either QEWU or Patterns of Fashion, rather than a functional seam up the 
back.  This decorative knitwork could be described as more "open" in 
appearance than standard knit, and having a seam up the back of the leg 
to hold the hose together makes no sense if that seam is open.  In 
addition, Stubbes is cataloguing in this list of features decorative 
(and expensive) rather than functional characteristics of hose to 
emphasize his disapproval for such frivolity.

Not evidence, just my opinion,
Melanie Schuessler


http://www.faucet.net/costume
http://www.coastal.edu/theater

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Hose/stockings
Date: Tue, 21 Oct 2003 08:57:16 -0400
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Audrey wrote:
<<One day I'll knit my own. Right now there are too many projects given
the
number of hours in a year :-)>>

No kidding!  I'm with you on that one, Audrey.  I have the better part
of a pair of Carnamoyle stockings (Irish 16th century) done, but not
finished and about five or six inches started on a pair of 18th thread
(linen) stockings.  That's some slow knitting, let me tell you!  But I
wear stockings from Sykes or I make cloth hose.

Kass

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Subject: RE: [h-cost] Re: Hose/stockings
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Lisa wrote:
<<Given that stockings, even knit ones in the Elizabethan time period
had
seams running down the back of the hose, I think sewing a pair from some
purchased knit fabric would not be a terribly bad substitute.>>

In the 18th century, stockings sewn together from frame knitted silk was
rather de rigeur.  Look here:
http://www.reconstructinghistory.com/18thc/silkstockings.html

Kass

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Kate Bunting
Library, University of Derby

>>> webwarren@earthlink.net 10/21/03 01:07pm >>>

>>Is there a French equivalent of the OED?

>I believe _le Petit Robert_ is what is used, or something else
_Robert_ (I 
>don't recall exactly offhand). I remember being told that it was
something 
>like 17 volumes...

That would be Le Grand Robert - the "little" one is the one-volume
version!


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re: Hose/stockings
Date: Tue, 21 Oct 2003 09:03:34 -0400
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Carol wrote:
<<I don't know exactly how early the 
purl "seam" appeared in hand knit hose, but it was definitely there 
by the 18thC.  The Gunnister hose have the purl "seam", and they're 
17thC.>>

Carol, the Carnamoyle stockings date to the late 16th century and are
knitted with a purl "seam" up the back.  So that might be your early
date.  Of course the Irish have always been a little behind the times.

I'm of the same opinion as you; I think they put the purl seam in to
imitate cut hose ("Hose are supposed to have a seam so we'll make
one!").  But here's another thought.  When I'm knitting in the round,
having to make that purl stitch helps me remember what row I'm on.

Kass

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Thanks for word def.
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Like a gorget?
--sue

Deredere Galbraith wrote:
> 
> In dutch ailette means neckprotector
> 
> Roscelin wrote:
> 
> > Greetings to one all,
> >     Thank you to everyone who has helped me out with the myserterious
> > word.  I wish I could reply to each of you, but I'm right in the
> > middle of class/home work.
> >      Yes, the word did turn out to be from the Netherlands.  What is
> > now confusing is that in the book I originally got the word from, the
> > author is using it alternately with "ailette".  Which some of us
> > already know is French for "wing" of "fin".   Can anyone help me
> > figure out how in the world the author could be using a word meaning
> > "gambison" with a word that means "wing" or "fin"?   Also note, that
> > the ailette is worn outside of the armor at the shoulders.  And the
> > gambison is worn under the armor.
> >       I'm confused!  Or my mind is just bonkers because of my
> > class/home work. :)
> >       Thank you again for your wonderful help.  I really do appreciate
> > it.
> >
> > In the Service of Many Dreams,
> > Roscelin
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Tue Oct 21 10:35:10 2003
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	Tue, 21 Oct 2003 07:33:59 PDT
Date: Tue, 21 Oct 2003 07:33:59 -0700 (PDT)
From: Angela Kessler <ivyharpdotcom@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] New Yahoo! Group: BridalSewing
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Hello, all!
This message is to announce that I have started a new
Yahoo! group: BridalSewing.  After trying to gather
the information I need from tangentially-related
groups, I have decided to test the "if you build it,
they will come" theory.  Here is the description:

***
This is a group especially for those who design and/or
sew custom wedding gowns.  Discussion topics can
include, for example, techniques for working with
fussy fabrics, sources for materials, dealing with
challenging clients, or any of the non-sewing aspects
necessary in running a small business.

It can be found at
http://groups.yahoo.com/group/bridalsewing
To subscribe, send email to
bridalsewing-subscribe@yahoogroups.com
***

Where else would you suggest I announce this group? 
Or, feel free to just forward this announcement
yourself to other lists or individuals where you think
there might be interest.  (If you forward to other
lists, please let me know so I don't duplicate.)  It
may be a small group at first, but I'm hopeful it can
be a helpful and supportive one.

Thanks-
Angela


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Subject: [h-cost] The End of Northern Faire
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FYI - Guess the Heart of the Forest Faire must be doing fairly well.........

To: Bill Watters
Subject: [NorCalRenFaire] Northern Faire Closes for good
Importance: High

 Dear Guildmasters, Directors, Performers,
As you have been aware, the fate of our Northern Faire
has been uncertain.  I am sad to announce that we are,
indeed, closing the Northern Renaissance Pleasure
Faire.  Below is a letter from our management
detailing the situation.  Please know that Southern
Faire will go on as planned, and that I am continuing
as Entertainment Director. I thank everyone involved
in creating our entertainment.  You can be proud of
the fine job you have done and proud of the effort you
exerted to make this Faire a success.  The
memories of Northern Faire, including the times we
shared, certainly will live on in my heart.  I am
looking forward to our next meeting.  I apologize
for the lack of a complete e-mail llist.  Please
forward this message to all concerned parties.

Gerald Zepeda
Director of Entertainment
REC California
(408) 847-1138 ext 241

Renaissance Entertainment Corporation
Renaissance Pleasure Faire
10021 Pacheco Pass Hwy 152
Hollister, CA 95023
(408) 846-6446

Dear Faire Family,

As you are aware, we have been fighting a losing
battle over the last few years with attendance and
loss of income with the Northern Renaissance
Pleasure Faire.  We have had a steady decline in
attendance since 1991 (with the exception of 1994, our
first year of "Farewell to Black Point").

There is no one factor that we can isolate which has
contributed to the failing of the show.  The decline
began during the Patterson's administration and has
continued through a series of General Managers
who have been unable to stop the hemorrhaging of
revenues at this event.

No ad campaign nor marketing schedule, including
Phyllis Patterson's legendary marketing skills, was
able to deter the decline.  Our attendance failed long
before we moved from our home in Blackpoint and has
suffered greatly while we tried to find a permanent
home.

Since 1994 we have looked at over 200 sites and have
spent over $500,000 in an attempt to find a home for
our Faire.  Not only has a property been
impossible to find, the one exception (American
Canyon) proved too costly to make workable and the
California environment regulations work against
any sincere efforts to create a business which by all
accounts, "lays lightly on the soil".

The Northern Faire has lost $900,061 in revenues
during the years 1999-2003.  Our attendance has
declined 62% since 1991.  The losses incurred by the
Northern Faire have placed a continual drain on our
Southern, Chicago and New York Faires, which are
healthy shows and consistently create a profit.  It is
unfair for these healthy shows to bear the burden on
Northern's losses.

It, therefore, is which great sadness that we announce
that we are closing the Northern Renaissance Pleasure
Faire.

We must ask that you remove all of your personal
possessions from the site by November 2nd, 2003.

As performers and entertainers the show has rested on
your shoulders for many, many seasons.  Please know
that this failure does not reflect upon the amazing
grace that you have given the show.  We are all so
appreciative of the energy and level of entertainment
that you have contributed.

The show sparkled brightly this season and it is
bittersweet that even though we have never looked or
performed better, this has become our final Huzzah.
We thank all of you for your continued support through
all these past years.  For as long as the show lives
in our memories, it shall never fade away.

-- The staff and management of the Northern
Renaissance Pleasure Faire
and
Renaissance Entertainment Corporation.




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Subject: [h-cost] RE: Pants Question - PICTURES!!
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After promising pictures so that everyone could see the outfit I realized
something.  This isn't one of my Yahoo groups that has a picture section.
And I don't have a personal web page set up.  :(

However I have posted some pics of my outfit.  You can find them in either
of 2 yahoo groups.  I'm hoping a lot of people here are also on SCA-Garb.
If not then it is easy enough to join just long enough to check out the
pics.  The same goes for my local SCA group Central_Virgina_SCA.

http://groups.yahoo.com/group/central_virginia_sca/
http://groups.yahoo.com/group/SCA-Garb/

In either group go to Photos, then look for a folder labeled Bjorn
Arnaldsson.

These were all taken at a dance performance this past weekend.  They aren't
the best pics in the world but you should be able to see some of the detail
in my garb if you open them up fully.  Keep in mind that the panes aren't as
noticeable in the pics because they are pinned down.  There was a bit of
concern as to what would happen if the girl got caught up in them while we
were dancing.

Any questions/comments on the pants or doublet would be appreciated.


As for the true waist line of discussion.  When I wear belts etc and they
slide down they end up catching on the top of my hip bones.  Generally with
a comfortable fitting pair of pants that puts the front of the pants just
about a .5 inch below my navel.  (Someone suggested elastic.  Elastic seems
to ignore my hips and keep sliding down.  Unless it's tight enough to cut
off my circulation.  I always have to tie sweat pants because I can't assume
the elastic will help.)  So apparently I'm pretty close to what I think most
of you are describing as "true waist".  Unless I'm reading wrong and "true
waist" should cover your belly button.  The doublet is still about 2-3
inches higher then that without the panels.  (Which is why I added the
panels.)  You may notice in a couple of the pictures that when I move around
the doublet rises and you get a good view of white shirt between my pants
and doublet.
I may go ahead and work on some ties between a couple of the panels on the
doublet.  That would keep the top of the pants just a little higher then my
navel but no one would notice that.


Bjorn Arnaldsson
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Sorry I forgot to add this on.  If anyone wants to see the pics but doesn't
want to check those groups, let me know and I can email you a zip file.  If
anyone has a suggestion of another place I can post them for people to see,
just let me know.

Bjorn Arnaldsson
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> >Is there a French equivalent of the OED?
>
> I believe _le Petit Robert_ is what is used, or something else _Robert_ (I
> don't recall exactly offhand). I remember being told that it was something
> like 17 volumes...
>
> Audrey, perhaps you're more familiar with? (Or do most people you know use
> Canadian-French dictionaries?)

Hmm, sorry I don't know. We don't have many French-Canadian dictionaries,
most of the times we use the French (from France) ones. As for a OED-like
volume, it probably exists somewhere, but I've never heard of it :-)
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Subject: [h-cost] dyeing linen
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All,

I know nothing (much) about dyeing, but a friend of mine and I want to 
try it this winter. We'd like to work with linen (did I just pick the 
most difficult fabric to dye?) as we have costume interests that range 
from the 16th to 18th centuries. I think at this point we'd also like to 
use prepared commercial dyes rather than go the period plant route.

What I'm asking is, does anyone recommend a certain brand of dye either 
for use with linen, or for ease of use, or for coloring suitable for the 
periods we plan to use it for?

I'm hoping to get the dye products through Dharma Trading. Book 
suggestions for beginners would also be welcome.



Dawn


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Date: Tue, 21 Oct 2003 20:33:08 +0100
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Finding the waist, was RE: Pants Question - Pattern
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I think I must have an unusually long ribcage, because there's only
about two fingers' width between my lower ribs and my hipbone - I have
no problem finding my waist!
As Kat says,  until the mid-17th century the breeches were attached to
the doublet by laces called "points" (another reason why a gentleman
didn't take off his doublet in public!) Bjorn's suit looks early 17th
century to me- the fashionable waistline was high at this period.


Kate Bunting
Library, University of Derby

>>> audreybmorin2@hotmail.com 10/20/03 08:55pm >>> wrote:

Ihe true waist would be a couple of inches above the hip bone, where
the waist is more narrow.
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From: Rima <rima@anet.net>
Subject: Re: [h-cost] dyeing linen
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Dawn says:

>I know nothing (much) about dyeing, but a friend of mine and I want 
>to try it this winter. We'd like to work with linen (did I just pick 
>the most difficult fabric to dye?) as we have costume interests that 
>range from the 16th to 18th centuries. I think at this point we'd 
>also like to use prepared commercial dyes rather than go the period 
>plant route.
>
>What I'm asking is, does anyone recommend a certain brand of dye 
>either for use with linen, or for ease of use, or for coloring 
>suitable for the periods we plan to use it for?
>
>I'm hoping to get the dye products through Dharma Trading. Book 
>suggestions for beginners would also be welcome.

I'm also new at dying.   I've had good luck with Jacquard dyes. 
Easy easy easy.   But then I've been doing sillk, not linen, so I 
dunno what specific linen problems you might run into.

What I do know is that the folks at Dharma are ready, willing, and 
able to talk you thru the process.   I think the expert there is 
Judy.   If you're not sure what to do, give 'em a ring!

BTW, if you haven't bought their 3mm silk chiffon, you just haven't 
LIVED!   And I think it's a whopping  $3 a yard!!!!!

Rima
BIG Dharma fan!
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] dyeing linen
Date: Tue, 21 Oct 2003 16:04:56 -0400
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Dawn,

Try http://www.dharmatrading.com/html/eng/3246-AA.shtml Cotton, Rayon,
and Hemp are all vegetable (cellulose) fibres, as is Linen.  Actually,
linen is chemically very similar to Hemp.  They're both bast fibres.

I prefer buying direct form these guys.  They're the manufacturer:
http://jacquardproducts.com/products/dyes/procionmx/

Just follow the directions and make sure you don't use silk or wool
(animal fibre) dyes on the linen and you'll be fine.

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Dawn
Sent: 21 October 2003 3:34 PM
To: 'h-costume@indra.com'
Subject: [h-cost] dyeing linen

All,

I know nothing (much) about dyeing, but a friend of mine and I want to 
try it this winter. We'd like to work with linen (did I just pick the 
most difficult fabric to dye?) as we have costume interests that range 
from the 16th to 18th centuries. I think at this point we'd also like to

use prepared commercial dyes rather than go the period plant route.

What I'm asking is, does anyone recommend a certain brand of dye either 
for use with linen, or for ease of use, or for coloring suitable for the

periods we plan to use it for?

I'm hoping to get the dye products through Dharma Trading. Book 
suggestions for beginners would also be welcome.



Dawn


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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <000501c397d3$1a5c3510$736453d8@Kass>
Subject: Re: [h-cost] Re: Hose/stockings
Date: Tue, 21 Oct 2003 11:49:02 -0700
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Thanks for this link, plus the silk knit supplier.  I'm a big fan of silk
knit camisoles and long johns for snowy weather, warmth without the bulk.  I
bet a pair of silk hose from this sort of fabric would be very nice.  Do you
have any idea of what gauge Lee's 16th century knitting machines produced?
Carol? Anyone?  I bet there must be a few second hand knitting machines on
the market that wouldn't be too hard to program to produce a pair of flat
knit hose.........

Lisa  -  off in dreamland again!!!!


----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Tuesday, October 21, 2003 5:58 AM
Subject: RE: [h-cost] Re: Hose/stockings


> Lisa wrote:
> <<Given that stockings, even knit ones in the Elizabethan time period
> had
> seams running down the back of the hose, I think sewing a pair from some
> purchased knit fabric would not be a terribly bad substitute.>>
>
> In the 18th century, stockings sewn together from frame knitted silk was
> rather de rigeur.  Look here:
> http://www.reconstructinghistory.com/18thc/silkstockings.html
>
> Kass
>
> _______________________________________________
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hose/stockings
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> Thanks for this link, plus the silk knit supplier.  I'm a big fan of silk
> knit camisoles and long johns for snowy weather, warmth without the bulk.
I
> bet a pair of silk hose from this sort of fabric would be very nice.  Do
you
> have any idea of what gauge Lee's 16th century knitting machines produced?
> Carol? Anyone?  I bet there must be a few second hand knitting machines on
> the market that wouldn't be too hard to program to produce a pair of flat
> knit hose.........
>
> Lisa  -  off in dreamland again!!!!
>
>
> ----- Original Message -----
> From: "Kass McGann" <historian@reconstructinghistory.com>
> To: "'Historical Costume'" <h-costume@indra.com>
> Sent: Tuesday, October 21, 2003 5:58 AM
> Subject: RE: [h-cost] Re: Hose/stockings
>
>
> > Lisa wrote:
> > <<Given that stockings, even knit ones in the Elizabethan time period
> > had
> > seams running down the back of the hose, I think sewing a pair from some
> > purchased knit fabric would not be a terribly bad substitute.>>
> >
> > In the 18th century, stockings sewn together from frame knitted silk was
> > rather de rigeur.  Look here:
> > http://www.reconstructinghistory.com/18thc/silkstockings.html
> >
> > Kass
> >
> > _______________________________________________
> > 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@thrednedlestrete.com>
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Subject: [h-cost] Re: more on Hose/stockings
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> Melanie wrote:
> >
> > I would interpret "open seam down the leg" as referring to vertical
> > lines of decorative knitwork, as can be seen in Eleonora's stockings in
> > either QEWU or Patterns of Fashion, rather than a functional seam up the
> > back.  This decorative knitwork could be described as more "open" in
> > appearance than standard knit, and having a seam up the back of the leg
> > to hold the hose together makes no sense if that seam is open.  In
> > addition, Stubbes is cataloguing in this list of features decorative
> > (and expensive) rather than functional characteristics of hose to
> > emphasize his disapproval for such frivolity.
>
> Perhaps this might relate to the purl stitch in knit in the round
stockings?
> It does seem to be a decorative effect he is speaking of but I don't know
if
> a purl is really open.  It's hard to tell just from this quote.
>
>
> Carol Kocian wrote:
>
> Circular knitting machines were invented around 1790 and were
> used for stockings in the early 19th century.  Lee's frame (the
> Elizabethan era invention) knit flat, and the fabric was shaped on
> the frame (with decreases at the edges of the fabric), and then sewn
> up the back with a separate sole piece.
>
> My assumption was that the 16th century knitting machine (invention) would
> have produced a flat knit material requiring a seam up the back, but I
> wasn't sure so thanks for that info.  I did find a couple a quotes that
may
> be of interest and some export data relating to stockings ...
>
> From The New Draperies book from the early 16th century public record "One
> deputy-alnager, who thought that the defects in knitting were 'verye
> common', desposed that 'stockinges manie tymes are made verye defective
the
> feete beinge made of Another sort of yarne and too Little for the
proporcion
> of the Legge.'
>
> London exported 33,455 pairs of worsted stockings in 1595 and 267,000 in
> 1619 although I don't know if these were knit or woven.
>
> One hosier's inventory contained coloured woollen boys' hose at 6d. per
> pair, women's coloured hose at 16d. per pair, coloured wheel-spun hose at
> 2s. 2d. per pair and coloured jersey hose at 3s.8d per pair.
>
> Instead of trying to hand knit a pair of hose, I wonder if there are very
> many people around with knitting machines that would take a commission on
a
> pair or two?  Or do popular knitting machines produce such a fine gauge
> fabric?
>
> Lisa Sinervo
> www.thrednedlestrete.com
>
>


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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] Re: Curled Cypress & "Crape"
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> I've had a glance through The New Draperies in the Low Countries and
England
> and found nothing on cypress. Janet Arnold speculates in QEWU that in
> addition to being made solely of silk or solely of linen, it might be made
> with a linen warp and silk weft, but no reference as to why she thinks
this.
> This may be where I picked the blend notion up from.  Arnold used
> Linthicum's book so maybe she picked up this thought from "Costume in the
> Drama of Shakespeare and his Contemporaries", in any case after looking I
> have found no period reference for a silk/linen blend cypress, just silk
or
> linen.
>
> The New Draperies book does talk about the introduction of wool "crape"
as
> a product produced in Norwich with probate records giving evidence of its
> first appearance in 1670s.  While this is much later than Elizabethan
times,
> I am finding quite a bit of talk and evidence of supple fabric blends used
> during this time period even though I had always thought of Elizabethan
> fabric as being rather stiff.
>
> Lisa Sinervo
> www.thrednedlestrete.com
>
> ----- Original Message -----
> From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, October 20, 2003 8:34 PM
> Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
>
>
> > I would not interpret these quotes as a blend either Chris.  These
sources
> > say silk or linen not a combination but I do have a very interesting
book
> > called "The New Draperies in the Low Countries and England" that I have
> > skimmed through that deals quite a bit with silk/linen/cotton/wool
blends
> > and somehow in my head I seem to recall a silk/linen combo called
Cypress
> > but I could be wrong.  I've a nasty flu at the moment, but after some
> sleep
> > I'll have a look and see if my memory serves me correctly.
> >
> > Lisa Sinervo
> >
> >
> > ----- Original Message -----
> > From: "Chris Laning" <claning@igc.org>
> > To: "Historical Costume" <h-costume@indra.com>
> > Sent: Monday, October 20, 2003 2:50 PM
> > Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
> >
> >
> > > At 6:53 PM -0700 10/19/03, Lisa Sinervo wrote:
> > > >Cypress as a linen/silk blend can be found in Linthicum's book
Costume
> in
> > > >the Drama of Shakespeare and his Contemporaries.  She used Minsheu's
> > Guide
> > > >unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers"
and
> > > >Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or
> > cypresse."
> > > >as references. Also from 1611 but not sure where, maybe Florio -
> "bauero,
> > a
> > > >stuffe made of raw silk as curled cipers."  Cypress was a fabric from
> > > >Cypress, and it came in a plain or crepe weave.  If crepe, it was
often
> > > >called "crespe", "crespin" or "creppin". - (Florio 1598 for this
> > reference.)
> > > >Could also be called "curled cipers" vs. "plain cipers"
> > >
> > > Interesting. If that's what her original sources said, I would be
> > > more likely to interpret it quite differently. Finding it described
> > > in one place as silk and in a different place as linen would
> > > certainly _not_ lead me to interpret it as a linen/silk blend --
> > > rather I would think it was a description of how the fabric looked or
> > > was woven, regardless of fiber content. I would also want to see more
> > > documentation of what "crespe" or "creppin" meant in period. My
> > > understanding is that this is one of the problems with Linthicum --
> > > that it relies exclusively on a few types of documentary evidence,
> > > rather than taking other things into account.
> > > --
> > > _________________________________________________________
> > > O    Chris Laning
> > > |     <claning@igc.org>
> > > +    Davis, California
> > > _________________________________________________________
> > > _______________________________________________
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> > >
> >
> >
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From h-costume-bounces@indra.com  Tue Oct 21 16:32:33 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] dyeing linen
Date: Tue, 21 Oct 2003 13:31:44 -0700
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You are definitely doing the right thing Dawn.  I use the Dharma Procion
powdered dyes all the time.  Your catalog (or the website) will tell you the
things you need.  Soda Ash can be purchased at any place that sells pool
supplies and is MUCH cheaper!

Be sure to buy some Reduran (dye remover for your hands).  Be VERY sure to
wear a filter mask when handling the dyes while in their powdered form and
the soda ash. 

I also do use the casoline oil, dye fixative and millsoft products.  

You will have SOOOO much fun!  Linen is easy to dye.   One of the things
they don't tell you to do, but I have found makes for much more even dye
distribution is to stop your machine once in awhile.  (my machine will not
start it's spin cycle as long as the top is left open-which is nice because
your dye won't drain out when you don't want it to.)  Then unwind the
fabric.  If you can cut your fabric up into smaller lengths and serge, pink,
or zig-zag the ends to prevent strings.   You may want to use rubber gloves
or your fingernails may turn yucky colors (even with the reduran).

Oh and when they say SLOWLY add the Soda Ash solution do that. And be sure
you have thoroughly dissolved it and don't pour it right on the fabric!  It
is caustic and will eat right through it!  Ask me how I know!!  

Feel free to ask more questions if you like.  You might want to post
directly to me because if it ends up in the H-Cost pile, I may loose it.
(So don't put h-cost anywhere in your note!)  :)

Sg



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dawn
Sent: Tuesday, October 21, 2003 12:34 PM
To: 'h-costume@indra.com'
Subject: [h-cost] dyeing linen

All,

I know nothing (much) about dyeing, but a friend of mine and I want to 
try it this winter. We'd like to work with linen (did I just pick the 
most difficult fabric to dye?) as we have costume interests that range 
from the 16th to 18th centuries. I think at this point we'd also like to 
use prepared commercial dyes rather than go the period plant route.

What I'm asking is, does anyone recommend a certain brand of dye either 
for use with linen, or for ease of use, or for coloring suitable for the 
periods we plan to use it for?

I'm hoping to get the dye products through Dharma Trading. Book 
suggestions for beginners would also be welcome.



Dawn


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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: 
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Subject: [h-cost] more on Hose/stockings
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Melanie wrote:
>
> I would interpret "open seam down the leg" as referring to vertical
> lines of decorative knitwork, as can be seen in Eleonora's stockings in
> either QEWU or Patterns of Fashion, rather than a functional seam up the
> back.  This decorative knitwork could be described as more "open" in
> appearance than standard knit, and having a seam up the back of the leg
> to hold the hose together makes no sense if that seam is open.  In
> addition, Stubbes is cataloguing in this list of features decorative
> (and expensive) rather than functional characteristics of hose to
> emphasize his disapproval for such frivolity.

Perhaps this might relate to the purl stitch in knit in the round stockings?
It does seem to be a decorative effect he is speaking of but I don't know if
a purl is really open.  It's hard to tell just from this quote.


Carol Kocian wrote:

Circular knitting machines were invented around 1790 and were
used for stockings in the early 19th century.  Lee's frame (the
Elizabethan era invention) knit flat, and the fabric was shaped on
the frame (with decreases at the edges of the fabric), and then sewn
up the back with a separate sole piece.

My assumption was that the 16th century knitting machine (invention) would
have produced a flat knit material requiring a seam up the back, but I
wasn't sure so thanks for that info.  I did find a couple a quotes that may
be of interest and some export data relating to stockings ...

>From The New Draperies book from the early 16th century public record "One
deputy-alnager, who thought that the defects in knitting were 'verye
common', desposed that 'stockinges manie tymes are made verye defective the
feete beinge made of Another sort of yarne and too Little for the proporcion
of the Legge.'

London exported 33,455 pairs of worsted stockings in 1595 and 267,000 in
1619 although I don't know if these were knit or woven.

One hosier's inventory contained coloured woollen boys' hose at 6d. per
pair, women's coloured hose at 16d. per pair, coloured wheel-spun hose at
2s. 2d. per pair and coloured jersey hose at 3s.8d per pair.

Instead of trying to hand knit a pair of hose, I wonder if there are very
many people around with knitting machines that would take a commission on a
pair or two?  Or do popular knitting machines produce such a fine gauge
fabric?

Lisa Sinervo
www.thrednedlestrete.com



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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] dyeing linen
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I prefer buying direct form these guys.  They're the manufacturer:
http://jacquardproducts.com/products/dyes/procionmx/


[Sg] How do you buy directly from the website...all I see are referrals to
other stores?  Do they sell the powdered form? 

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] RE: Pants Question - PICTURES!!
Date: Tue, 21 Oct 2003 13:50:58 -0700
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You look great!  They look great!  I wish I had been following the
discussion earlier.  

A person's waist is not necessarily where his/belly button is.  Often when
we are unsure where it is (this mostly occurs with heavier people) we tie a
piece of elastic snuggly 'round where we think it is and then ask the person
to move about.  The elastic will settle where the natural waist is. Sounds
to me like your pants are settling where they should.  But then you do have
to adjust your doublet length to match it.   

What type of dance is this called?   Not to be critical, but why are you the
only one dressed in period garb?  


Sg




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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] dyeing linen
Date: Tue, 21 Oct 2003 17:09:16 -0400
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 [Sg] How do you buy directly from the website...all I see are referrals
to
other stores?  Do they sell the powdered form? 

Call them.  You don't have to buy in bulk to buy from them.  I've bought
as little as a 1/2 ounce.  And yes, it is powdered.  The number is here:
http://jacquardproducts.com/contact/


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Date: Tue, 21 Oct 2003 21:07:17 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hose/stockings
From: <aquazoo@patriot.net>
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Hi Lisa,

> Do you have any idea of what gauge Lee's 16th century knitting
> machines produced?

     In _Socks & Stockings_ by Jeremy Farrell, there is a pair of hose knit, I 
think in the early 20th C, supposedly at the guage that Lee's original machine 
had.  The story is that Queen Elizabeth refused him a patent until he could get 
the guage finer because otherwise he would put handknitters out of business.  

> I bet there must be a few second hand knitting machines on
> the market that wouldn't be too hard to program to produce
> a pair of flat knit hose.........

     Oh, if only you knew!  I spent a month in Nottingham learning to use an 
antique frame (that's where some of my pictures in HistoricKnit are from).  
What I really did was to start to learn how to be a frame mechanic!  I had 
pliers in my hands far more often than I ever had yarn.  I ended up with a 
small scarf and a very intimate knowledge of the mechanism.

     The more modern machines produce a stretchier yarn, so it's not quite 
right. :-/

     -Carol

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: 
	<20031020002117.37426.qmail@web20203.mail.yahoo.com><001601c396ad$06a9b640$3e2ea5d1@pavilion><p0510030fbbba0818bb7a@[209.165.35.201]>
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Subject: [h-cost] Curled Cypress & "Crape"
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I've had a glance through The New Draperies in the Low Countries and England
and found nothing on cypress. Janet Arnold speculates in QEWU that in
addition to being made solely of silk or solely of linen, it might be made
with a linen warp and silk weft, but no reference as to why she thinks this.
This may be where I picked the blend notion up from.  Arnold used
Linthicum's book so maybe she picked up this thought from "Costume in the
Drama of Shakespeare and his Contemporaries", in any case after looking I
have found no period reference for a silk/linen blend cypress, just silk or
linen.

The New Draperies book does talk about the introduction of wool "crape"  as
a product produced in Norwich with probate records giving evidence of its
first appearance in 1670s.  While this is much later than Elizabethan times,
I am finding quite a bit of talk and evidence of supple fabric blends used
during this time period even though I had always thought of Elizabethan
fabric as being rather stiff.

Lisa Sinervo
www.thrednedlestrete.com

----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 20, 2003 8:34 PM
Subject: Re: [h-cost] Curled Cypress (was hose/stockings)


> I would not interpret these quotes as a blend either Chris.  These sources
> say silk or linen not a combination but I do have a very interesting book
> called "The New Draperies in the Low Countries and England" that I have
> skimmed through that deals quite a bit with silk/linen/cotton/wool blends
> and somehow in my head I seem to recall a silk/linen combo called Cypress
> but I could be wrong.  I've a nasty flu at the moment, but after some
sleep
> I'll have a look and see if my memory serves me correctly.
>
> Lisa Sinervo
>
>
> ----- Original Message -----
> From: "Chris Laning" <claning@igc.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Monday, October 20, 2003 2:50 PM
> Subject: Re: [h-cost] Curled Cypress (was hose/stockings)
>
>
> > At 6:53 PM -0700 10/19/03, Lisa Sinervo wrote:
> > >Cypress as a linen/silk blend can be found in Linthicum's book Costume
in
> > >the Drama of Shakespeare and his Contemporaries.  She used Minsheu's
> Guide
> > >unto Tongues from 1599 -"Gaca, a kind of silke stuffe lyke cypers" and
> > >Florio's dictionary, 1598 "Velitta, also a kind of fine lawne or
> cypresse."
> > >as references. Also from 1611 but not sure where, maybe Florio -
"bauero,
> a
> > >stuffe made of raw silk as curled cipers."  Cypress was a fabric from
> > >Cypress, and it came in a plain or crepe weave.  If crepe, it was often
> > >called "crespe", "crespin" or "creppin". - (Florio 1598 for this
> reference.)
> > >Could also be called "curled cipers" vs. "plain cipers"
> >
> > Interesting. If that's what her original sources said, I would be
> > more likely to interpret it quite differently. Finding it described
> > in one place as silk and in a different place as linen would
> > certainly _not_ lead me to interpret it as a linen/silk blend --
> > rather I would think it was a description of how the fabric looked or
> > was woven, regardless of fiber content. I would also want to see more
> > documentation of what "crespe" or "creppin" meant in period. My
> > understanding is that this is one of the problems with Linthicum --
> > that it relies exclusively on a few types of documentary evidence,
> > rather than taking other things into account.
> > --
> > _________________________________________________________
> > O    Chris Laning
> > |     <claning@igc.org>
> > +    Davis, California
> > _________________________________________________________
> > _______________________________________________
> > 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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Subject: Re: [h-cost] Re: more on Hose/stockings
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Lisa Sinervo <Lisa-list@thrednedlestrete.com> said:
> > 'stockinges manie tymes are made verye defective
> > the feete beinge made of Another sort of yarne
> > and too Little for the proporcion of the Legge.'

     I've seen plenty of extant 18thC hose with the feet of undued yarn or 
possibly a scrap yarn.  Why use good yarn where it won't show? :-)  I hadn't 
seen them made with poorer quality yarn in the feet, but then again the cheap, 
defective hose would not be as likely to survive.  Also perhaps by the 18thC 
the industry had more standards.

> > I wonder if there are very many people around
> > with knitting machines that would take a commission
> > on a pair or two?  Or do popular knitting machines
> > produce such a fine gauge fabric?

     No, unfortunatley they don't.  I have a "fine guage" home knititng 
machine, and it's nowhere close to what I see in extant stockings.  Then again, 
I am looking at later stockings, so maybe it's fine enough for 16th century.

     The problem is getting a tight, solid knit.  I can only turn the tension 
up so high before the machine starts groaning and creaking and I fear I'll bend 
it into an unuseable shape!

     -Carol

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Subject: Re: [h-cost] Re: more on Hose/stockings
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> Lisa Sinervo <Lisa-list@thrednedlestrete.com> said:
> > > 'stockinges manie tymes are made verye defective
> > > the feete beinge made of Another sort of yarne
> > > and too Little for the proporcion of the Legge.'
>
>      I've seen plenty of extant 18thC hose with the feet of undued yarn or
> possibly a scrap yarn.  Why use good yarn where it won't show? :-)  I
hadn't
> seen them made with poorer quality yarn in the feet, but then again the
cheap, > defective hose would not be as likely to survive.  Also perhaps by
the 18thC
> the industry had more standards.
>
>
In the hand knitting book that I have from the early 1940s, it shows how to
make the sole of one's socks so that they are replaceable.  Also doing the
sole separate would allow one to reinforce all or part of it.  certainly
heels and toes need more strength that the leg.
Cynthia


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: more on Hose/stockings
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     They weren't reinforcing the stockings in the 18thC, and in fact in the 
19thC women would add reinforcing yarns to their stocking heels before wearing 
them.  I've seen that both on extant stockings and on a sampler!

     The heel was made in one with the leg, and the sole of the foot (from just 
forward of the heel to the toes) was a separate piece as a way to construct the 
hose from flat knit pieces.  Unfortunately it wasn't a way to easily remove the 
worn heels, and if the toes were worn at the top then they would also have to 
be darned rather than replaced.

     The Metropolitan Museum of Art has a pair from about 1790 that have had 
the feet removed, so they are sort of like a combination of leg warmers and 
spats.  They're fancy silk stockings, so perhaps once the feet were worn out 
they were worn over a pair on intact plain hose.  Or maybe they were not worn 
after the feet were removed, maybe someone did that to "preserve" them.

     -Carol

> In the hand knitting book that I have from the early 1940s, it shows how to
> make the sole of one's socks so that they are replaceable.  Also doing the
> sole separate would allow one to reinforce all or part of it.  certainly
> heels and toes need more strength that the leg.
> Cynthia

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] OT, sorta: Stripper pants
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>The Great Costume Holiday is fast approaching and I need a pattern for 
>stripper pants (like Britteny Spears wears...) You who know me will be 
>glad to know they are not for me <VVBEG>! But to sew a demented costume 
>for a friend...So any hints, sources????

It was my privilege to see a pair of these pants in action a couple of 
weeks ago, on the sexiest male stripper I ever watched.  They were fastened 
all the way down each side with something like Velcro or snaps, such that 
when he grabbed the front and pulled, the whole thing came off in his 
hand.  I don't know what Britteney Spears wears.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <200310212122.h9LLM4Ap016633@jefferson.patriot.net>
Subject: Re: [h-cost] Re: more on Hose/stockings
Date: Tue, 21 Oct 2003 17:12:36 -0700
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Well, I guess that spares me from trying to find a second hand knitting
machine, although it'd be fun to have one anyway, but then you said perhaps
it would work for 16th century.  More digging required.  Are the images from
HistoricKnit available to the public for viewing?  I'd love to see what the
knitting frames looked like or even your drawing of one.    A month in
Nottingham, it just amazes me the various experiences people on this list
have had!

Cheers,

Lisa Sinervo

----- Original Message -----
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 21, 2003 2:17 PM
Subject: Re: [h-cost] Re: more on Hose/stockings


> Lisa Sinervo <Lisa-list@thrednedlestrete.com> said:
> > > 'stockinges manie tymes are made verye defective
> > > the feete beinge made of Another sort of yarne
> > > and too Little for the proporcion of the Legge.'
>
>      I've seen plenty of extant 18thC hose with the feet of undued yarn or
> possibly a scrap yarn.  Why use good yarn where it won't show? :-)  I
hadn't
> seen them made with poorer quality yarn in the feet, but then again the
cheap,
> defective hose would not be as likely to survive.  Also perhaps by the
18thC
> the industry had more standards.
>
> > > I wonder if there are very many people around
> > > with knitting machines that would take a commission
> > > on a pair or two?  Or do popular knitting machines
> > > produce such a fine gauge fabric?
>
>      No, unfortunatley they don't.  I have a "fine guage" home knititng
> machine, and it's nowhere close to what I see in extant stockings.  Then
again,
> I am looking at later stockings, so maybe it's fine enough for 16th
century.
>
>      The problem is getting a tight, solid knit.  I can only turn the
tension
> up so high before the machine starts groaning and creaking and I fear I'll
bend
> it into an unuseable shape!
>
>      -Carol
>
> _______________________________________________
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> h-costume@mail.indra.com
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>
>


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From h-costume-bounces@indra.com  Tue Oct 21 22:53:39 2003
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Date: Tue, 21 Oct 2003 19:45:27 -0700 (PDT)
From: Cascio Michael <rosenau5@yahoo.com>
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Subject: [h-cost] slovak sewing pattern translation
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Hi all,
   Wondering through the local university stacks I
found a book of patterns of some national (?) costumes
from one of the slovakia areas of the world.  No
English on the book but the pictures look like they
are from various regions with related but slightly
different clothes.  The pages fold out into patterns
with words on them like mere: gornja sirina.  The
sketches look like shirts with jumpers and aprons. 
The forward (?) is signed Dr. Marija Makaovic from
marca 1971.  Where on-line can I find a dictionary of
words that I don't need to know the language but I can
still look up the word?  They are a fascinating look
at rectangular construction and I think the words on
the pattern pieces are things like top and bottom and
cuff and such-like.  I'd like to try some of the shirt
patterns but could use help with the words to make
sure none of the pieces are being put together weird.
Thanks for any help with the translations.
                                   Cassandra

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From h-costume-bounces@indra.com  Tue Oct 21 22:55:32 2003
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Date: Tue, 21 Oct 2003 19:27:31 -0700
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Hose/stockings
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Actually, the knitting frame that Lee came up with could only produce 
fairly coarse knit stockings, and he did not receive a patent from Queen 
Elizabeth because she said that she did not want to take work from the many 
poor folk who earned their income from knitting.  She did say that *if* he 
had produced a frame that could be used for silk hose, she might have given 
him the patent because the market for silk hose was so small that it would 
not cause widespread unemployment.

I'm certain that there is someone with some more accurate information on 
gauge of some of the preserved stockings (see Rutt, "A History of Hand 
Knitting" for pictures), but judging from the pictures, I would say that at 
least 15 to 25 stitches to the inch (for silk) would not be unreasonable.

Joan in Sacramento, CA
knitter and Elizabethan re-enactor

At 11:49 AM 10/21/2003 -0700, you wrote:
>Thanks for this link, plus the silk knit supplier.  I'm a big fan of silk
>knit camisoles and long johns for snowy weather, warmth without the bulk.  I
>bet a pair of silk hose from this sort of fabric would be very nice.  Do you
>have any idea of what gauge Lee's 16th century knitting machines produced?
>Carol? Anyone?  I bet there must be a few second hand knitting machines on
>the market that wouldn't be too hard to program to produce a pair of flat
>knit hose.........
>
>Lisa  -  off in dreamland again!!!!
>
>
>----- Original Message -----
>From: "Kass McGann" <historian@reconstructinghistory.com>
>To: "'Historical Costume'" <h-costume@indra.com>
>Sent: Tuesday, October 21, 2003 5:58 AM
>Subject: RE: [h-cost] Re: Hose/stockings
>
>
> > Lisa wrote:
> > <<Given that stockings, even knit ones in the Elizabethan time period
> > had
> > seams running down the back of the hose, I think sewing a pair from some
> > purchased knit fabric would not be a terribly bad substitute.>>
> >
> > In the 18th century, stockings sewn together from frame knitted silk was
> > rather de rigeur.  Look here:
> > http://www.reconstructinghistory.com/18thc/silkstockings.html
> >
> > Kass
> >
> > _______________________________________________
> > 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] The End of Northern Faire
Date: Tue, 21 Oct 2003 20:05:23 -0700
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I'm actually surprised, although we all know that the character of the REC
faires has changed a lot over the years.

For those northern Calif. faire people, some interesting news from another
list I'm on:

> From: "Bill Watters"
>
> Well it's not Northern, but...
>
> The petition to hold an event was passed by the San Francisco Parks and
> Recreation division last Thursday, and so it's on - the Golden Gate
> Renaissance Faire, making it's debut in 2004, August 28th & 29th (the
> last weekend of August).
>
> The venue will be Golden Gate park, San Francisco. Just off of the Polo
> fields in the area called Speedway Meadow. For a link to an image
> looking down the site - http://www.mistersf.com/images/ggpspee02.jpg
> should give you an idea. The location can be seen on this map
> http://www.sfgate.com/traveler/acrobat/maps/1999/ggparkmap.pdf labeled
> as 13
> <http://www.sfgate.com/traveler/acrobat/maps/1999/ggparkmap.pdf%20labele
> d%20as%2013> , angled between the number and down towards the text
> "middle drive west".
>
> Look for more information to follow. Is this at all a replacement for
> Northern, no, not by any wild stretch of the imagination. It's a single
> weekend event, but bringing some of the magic into the City. The current
> webpage for information on the faire is at
> http://www.renaissance-web.net/sffaire/ and will be being updated over
> the next several days now that the permits are all in place.

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I thought some on this list might like to have this information.
Nancy

Here is what I've found so far concerning muffs within the SCA time period.  
I would be grateful to learn of any other references.

Arnold, Janet.  "Queen Elizabeth's Wardrobe Unlock'd".  Leeds: Maney, 1988.  
This is your best source for information which includes a painting of QEI 
holding a large embroidered muff.

Norris, "Tudor Costume and Fashion" (I don't have the full citation 
information for this).  In a message posted by Alexandria (Cynthia Bucheger) to the old 
sca-arts email list (19 Jan 1999), says that on page 612, there is "in an 
accounting of Elizabeth I's wardrobe, dated 1600, there is a listing of a Muff, 
or snoskyn or snuftkin.  It's described as being introduced toward the end of 
her reign.  Picture evidence is scarce, but there is a miniature dated 1590s 
that has a muff in it, sketch of which looks like the typical muff.  Norris goes 
on to describe snoskyns given to Elizabeth as gifts, made of 'saten' and 
perfumed leather, embroidered with venice gold, silver and silk, another snoskyns 
gift is a pair, one for each hand, made of 'cloth of silver, embroidered all 
over with flowers and braunches of Venice, silver and silk of sondry colors.' "

Yarwood, Doreen.  "The Encyclopedia of World Costume".  New York: Bonanza, 
1978.  "Muffs were carried from the later sixteenth century onwards." (page 294)

Lester, Katherine Morris.  "Historic Costume".  Peoria: Chas. A. Bennett, 
1967.  17th century info about muffs including "a caprice new to the period, 
however, was the affection bestowed upon the muff and the little muff-dog.  The 
muff was small, and the dog, even more diminutive, was carried within its copy 
depths." (page 127)  There is further information about muffs, again all out of 
SCA time period, however.

Beck, Thomasina.  "The Embroiderer's Story".  Newton Abbott: David and 
Charles, 1999.  "The New Year gift list of 1600 records a 'snoskyn' (muff) of cloth 
of silvers, 'embroidered all over with flowers of Venice gold, silver and silk 
of sundry colours,' offered to Queen Elizabeth by Lady Hoby, but there is 
nothing in the diary to say whether she embroidered such a muff herself, bought 
it ready-made, or commissioned it from a professional." (page 22)

Weiss, Francis.  "Furred Serpents, Snuffskins and Stomachers", in "Costume", 
No. 7 (1973): 47-49.  Here are the pertinent paragraphs --

"In Stuart days detachable sleeves in all colours and shapes formed a large 
proportion of elegant folk's wardrobe, these items of clothing most probably 
begetting the idea of the muff."
"Allegedly the muff, the Walloons called them 'mouffe', the Italians 
'manicone' or 'manichino', the French 'manchon', was a Polish invention.  However, 
knowing the Chinese, Russians, and the Magyars, I am convinced that each of them 
lays claim to this precedence."
"Whatever the case may be, the first mention of a muff is apparently in 1483, 
then under the name 'snuffkin'.  This expression had many variants, and these 
seem to arise from mistakes in transcription.  To mention a few: snufkin, 
skimskyn, snoskyn, etc., all signifying the same article, namely some material, 
worked in cylindrical form, into which both hands are thrust from opposite 
ends, for comfort."
"The earliest illustration of a muff we could find is a woodcut in the 1567 
edition of 'Recueil de la diversite des habits', an English Lady wearing a tiny 
snuffkin, fastened on what appears to be a cord, chain or band."  (This 
woodcut is shown in the article.)
"Among various warrants and accounts preserved at the London Public Record 
Office are several by Adam Blande, skinner.  He charges in 1583 ten shillings 
for 'furring' with five genette skins a seed-pearl embroidered, tawny coloured 
velvet snuffkin.  In 1587 Queen Elizabeth's Great Wardrobe is debited by him 
with 7 Pounds for the supply of one lynx, five shipping each for four Russian 
squirrel-skins, and ten shillings for making the muff.  Two years later we find 
that Blande is asking one shilling per skin for thirty ermine, and one Pound 
for manufacturing this snuffkin.  His price for mending one swandown and one 
lynx-skin was 3/4 sh. each."
"The lists of New Year's Gifts to Queen Elizabeth in 1589 and 1599 contain 
many detailed descriptions of muffs.  These items bear witness to the fantastic 
splendour displayed during the Renaissance, the Tudors of course no exception. 
 At their court for a modest present, namely a snuffkin, the most precious 
dress-materials, perfumed leather, gems, pearls, gold and silver threads were 
used."


Nevinson, John L.  "Catalogue of English Domestic Embroidery".  London: 
Victoria and Albert, 1938.  "... there are no French gowns, no petticoats, kirtles, 
safeguards, mantles, tippets, snoskins (muffs) or pantobles (slippers) that 
have come down to us ... and the identification of many of the embroideries 
presented to Queen Elizabeth as New Year's Gifts can only be by guesswork." (page 
77)

Ingvild


* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Ingvild Josefsdatter
(Nancy Spies)
textiles and research, Atlantia
http://www.weavershand.com/ArelateStudio.html

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What is the book title and what language is it in?

Fran

Cascio Michael wrote:

>Hi all,
>   Wondering through the local university stacks I
>found a book of patterns of some national (?) costumes
>from one of the slovakia areas of the world.  No
>English on the book but the pictures look like they
>are from various regions with related but slightly
>different clothes. 
>

--------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Date: Wed, 22 Oct 2003 01:03:42 -0400
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Re: more on Hose/stockings
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Hi Lisa,

      I'm not sure what the list setting are, if photo files are for 
members only or not.  It's easy enough to join the list, 
<HistoricKnit-subscribe@yahoogroups.com>.

      -Carol


>Well, I guess that spares me from trying to find a second hand 
>knitting machine, although it'd be fun to have one anyway, but then 
>you said perhaps it would work for 16th century.  More digging 
>required.  Are the images from HistoricKnit available to the public 
>for viewing?  I'd love to see what the knitting frames looked like 
>or even your drawing of one.    A month in Nottingham, it just 
>amazes me the various experiences people on this list have had!
>
>Cheers,
>
>Lisa Sinervo
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At 7:45 PM -0700 10/21/03, Cascio Michael wrote:
>Hi all,
>    Wondering through the local university stacks I
>found a book of patterns of some national (?) costumes
>from one of the slovakia areas of the world.  No
>English on the book but the pictures look like they
>are from various regions with related but slightly
>different clothes.  The pages fold out into patterns
>with words on them like mere: gornja sirina.  The
>sketches look like shirts with jumpers and aprons.
>The forward (?) is signed Dr. Marija Makaovic from
>marca 1971.  Where on-line can I find a dictionary of
>words that I don't need to know the language but I can
>still look up the word?  They are a fascinating look
>at rectangular construction and I think the words on
>the pattern pieces are things like top and bottom and
>cuff and such-like.  I'd like to try some of the shirt
>patterns but could use help with the words to make
>sure none of the pieces are being put together weird.

If you can extract a city of publication from the publication 
information, that will give you a strong lead on what language is 
involved.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Fwd: muffs
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> Message: 14
> Date: Tue, 21 Oct 2003 23:53:55 EDT
> From: SNSpies@aol.com
> Subject: [h-cost] Fwd: muffs
> 
> I thought some on this list might like to have this information.
> Nancy
> 
> Here is what I've found so far concerning muffs within the SCA time period.  
> I would be grateful to learn of any other references.<snipped>

Thank you so much for sharing this Nancy! I have had a particular interest in muffs since I first
saw the Venetian ladies in Vecellios book of woodcuts (1590) carrying them. I have the Dover book,
and there are two images of women carrying muffs. I've also seen a muff in a portrait of Minerva,
the artist's sister by Sofonisba Anguissola, 1559:

<http://www.csupomona.edu/~plin/women/womenart.html>


> "Allegedly the muff, the Walloons called them 'mouffe', the Italians 
> 'manicone' or 'manichino', <snipped>

Florio's "World of Words" Italian/English dictionary gives Manichino as "a little haft or handle",
but does list manicone as "a great sleeve, manchon, muffe or snufkin". Also listed are:

Manetta - a muffe, a snufkin, a mitton.
Manezza - a manchon, a sleeve, a muffe, a mitton, a snufkin, a long glove.



Bella
The Realm of Venus
http://realmofvenus.renaissancewoman.net

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To: Historical Costume <h-costume@indra.com>, h-costume@net.indra.com
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] slovak sewing pattern translation
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At 7:45 PM -0700 10/21/03, Cascio Michael wrote:
>Hi all,
>    Wondering through the local university stacks I
>found a book of patterns of some national (?) costumes
>from one of the slovakia areas of the world.  No
>English on the book but the pictures look like they
>are from various regions with related but slightly
>different clothes.  The pages fold out into patterns
>with words on them like mere: gornja sirina.  The
>sketches look like shirts with jumpers and aprons.
>The forward (?) is signed Dr. Marija Makaovic from
>marca 1971.  Where on-line can I find a dictionary of
>words that I don't need to know the language but I can
>still look up the word?  They are a fascinating look
>at rectangular construction and I think the words on
>the pattern pieces are things like top and bottom and
>cuff and such-like.  I'd like to try some of the shirt
>patterns but could use help with the words to make
>sure none of the pieces are being put together weird.

If you can extract a city of publication from the publication 
information, that will give you a strong lead on what language is 
involved.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] slovak sewing pattern translation
Date: Wed, 22 Oct 2003 02:46:18 -0400
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Try this site- it has 265 dictionaries with 70 source languages and 74
target languages.  Use the search options on the left side of the screen.
Hope it helps,
          -Helen/Aidan

http://www.foreignword.com/Tools/dictsrch.asp?p=files/f_118_40.htm


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I don't know in the text I found it, it was a neckprotektion for a horse.
http://home.planet.nl/~graafschap.middeleeuwen/zegels/reinald2.html
Op de dekkleden van het paard en de halsbeschermer (ailette) de leeuwen 
omgewend.

And I found this
http://www.brainydictionary.com/words/ai/ailette128401.html
n.) A small square shield, formerly worn on the shoulders of knights, -- 
being the prototype of the modern epaulet.

Epaulette
http://home.rdnet.nl/svanleeuwen/refdag/artikelen/a0006.html
 de eerste epauletten waren bedoeld om te voorkomen dat de 
uitrustingstukken afgleden. Langzaam ontwikkelde de epaulet zich tot een 
rangonderscheidingsteken
The fhirst epauletten were ment to prevent armour pieses from sliding 
down. Slowely the epaulet devolleped in to a rank decoration

I think it depends how it is used in the original text.
I don't think the word is originally dutch and I think this word has a 
different, or slightly different meaning in different languages.

Maby they are the leather straps on a gemberson to keep the schoulder 
and armpieses on????????

Greetings,
        Deredere


Sue Clemenger wrote:

>Like a gorget?
>--sue
>
>Deredere Galbraith wrote:
>  
>
>>In dutch ailette means neckprotector
>>
>>Roscelin wrote:
>>
>>    
>>
>>>Greetings to one all,
>>>    Thank you to everyone who has helped me out with the myserterious
>>>word.  I wish I could reply to each of you, but I'm right in the
>>>middle of class/home work.
>>>     Yes, the word did turn out to be from the Netherlands.  What is
>>>now confusing is that in the book I originally got the word from, the
>>>author is using it alternately with "ailette".  Which some of us
>>>already know is French for "wing" of "fin".   Can anyone help me
>>>figure out how in the world the author could be using a word meaning
>>>"gambison" with a word that means "wing" or "fin"?   Also note, that
>>>the ailette is worn outside of the armor at the shoulders.  And the
>>>gambison is worn under the armor.
>>>      I'm confused!  Or my mind is just bonkers because of my
>>>class/home work. :)
>>>      Thank you again for your wonderful help.  I really do appreciate
>>>it.
>>>
>>>In the Service of Many Dreams,
>>>Roscelin
>>>
>>>
>>>_______________________________________________
>>>h-costume mailing list
>>>h-costume@mail.indra.com
>>>http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>>      
>>>
>>_______________________________________________
>>h-costume mailing list
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>>    
>>
>_______________________________________________
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>
>  
>

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At 9:54 PM -0600 10/21/03, h-costume-request@indra.com wrote:
>It was my privilege to see a pair of these pants in action a couple of
>weeks ago, on the sexiest male stripper I ever watched.  They were fastened
>all the way down each side with something like Velcro or snaps, such that
>when he grabbed the front and pulled, the whole thing came off in his
>hand.  I don't know what Britteney Spears wears.

Thanks, I guess I need to get out more, do some research <G>!!!
Ta
Carol
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Carolyn Kayta Barrows wrote:

> It was my privilege to see a pair of these pants in action a couple of 
> weeks ago, on the sexiest male stripper I ever watched.  They were 
> fastened all the way down each side with something like Velcro or snaps, 
> such that when he grabbed the front and pulled, the whole thing came off 
> in his hand.  I don't know what Britteney Spears wears.

I haven't been following this thread, so apologies if this is repeat 
info, but often pants that are built to instantly disappear like this 
for the theatre have snap tape up the outseams.  There are different 
kinds of snap tape, but you can get fairly flimsy stuff that will just 
come apart if you pull.

Good luck,
Melanie Schuessler


http://www.faucet.net/costume
http://www.coastal.edu/theater

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Hey there Cassandra...

Well if you can read any of the letters at all,   ie using the Latin 
alphabet,  you're looking at Polish or possibly Magyar,  maybe a remote 
Romanian (really doubt that).  All the other Eastern European languages use 
the Cyrillic Alphabet.
My bet would be Polish.

gornja sirina  =  dress for a "woman" or "princess"  sorry don't speak 
Polish, but  do other EE. languages.

Good luck.
Bridgette

>Hi all,
>    Wondering through the local university stacks I
>found a book of patterns of some national (?) costumes
>from one of the slovakia areas of the world.  No
><snip>
>Thanks for any help with the translations.
>                                    Cassandra

Mari Stewart
glad that REES MIPS finally came in handy  ; >
Cornell University


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Subject: [h-cost] RE: Pants Question - PICTURES!!
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Status: RO

Thank you for the compliments.

Glad to hear that I had "true waist" pretty much figured out.  Of course
that does mean that I need to work on that doublet now.  Oh well, I needed
another project besides the pair of long pants for winter and the cloak I
was going to work on if I ever got time.

The dance style was a mix.  Basically it was ballet using as much of an
original form as we could.  Not truly period dance but not exactly modern
ballet either.  The duet however stretched more into modern ballet styles.
I haven't been able to study period dance very much yet but I somehow doubt
that a lot of the lifts and dips that we used are that old.  I have yet to
see paintings in museums of court dances with the women balanced like that.

And oddly enough I'm technically not in the right garb for that event.  It
was supposed to be more Colonial themed.  But the costuming decision went
sort of like this.  "We can either make him a new costume or we can let him
use a costume he already owns that looks good."  Since the girls costumes
were still being finished up into the last days before the event they were
happy to let me use what I had.  Now it does make me stand out a bit.  But
then I stand out in that group anyway.  The only male and about a foot
taller on average.  I figure if I'm going to stand out I may as well look
good doing it.
I did have to laugh at one view point.  The mother of the girl in the duet
greeted me that morning with this line, "So are you ready to dance with your
Frumpy French Maid?"  I think that captured the spirit of it.

Bjorn Arnaldsson



> 
> You look great!  They look great!  I wish I had been following the
> discussion earlier.  
> 
> A person's waist is not necessarily where his/belly button 
> is.  Often when
> we are unsure where it is (this mostly occurs with heavier 
> people) we tie a
> piece of elastic snuggly 'round where we think it is and then 
> ask the person
> to move about.  The elastic will settle where the natural 
> waist is. Sounds
> to me like your pants are settling where they should.  But 
> then you do have
> to adjust your doublet length to match it.   
> 
> What type of dance is this called?   Not to be critical, but 
> why are you the
> only one dressed in period garb?  
> 
> 
> Sg
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From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] slovak sewing pattern translation
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Hi  Cassandra,  I did a little more looking and found sites with a 
consistent country code of BA.  Which is the two-character ISO 3166 country 
code for BOSNIA AND HERZEGOVINA.   So you might have come across a Bosnian 
resource.


http://www.zemaljskimuzej.ba/images/etnologija/anterija.htm

This site has some examples of gornja.

Best of luck.
Bridgette

>    Wondering through the local university stacks I
>found a book of patterns of some national (?) costumes
><snip> and
>cuff and such-like.  I'd like to try some of the shirt
>patterns but could use help with the words to make
>sure none of the pieces are being put together weird.
>Thanks for any help with the translations.


Mari Stewart
who just can't seem to get working today   ; >
Cornell University


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Subject: Re: [h-cost] OT, sorta: Stripper pants
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Carolyn Kayta Barrows wrote:
> 
> It was my privilege to see a pair of these pants in action a couple of 
> weeks ago, on the sexiest male stripper I ever watched.  They were 
> fastened all the way down each side with something like Velcro or snaps, 
> such that when he grabbed the front and pulled, the whole thing came off 
> in his hand.  I don't know what Britteney Spears wears.

Not quite as exciting, but a roommate in college had a pair of these ... 
for hiking. Seems it can get cold in the mountains at night and then 
warm up pretty rapidly when the sun comes up. The idea was to have a 
pair of wool pants that could be removed easily without completely 
undressing on the trail. They were ordinary pants taken apart with 
velcro dots on the side seams. Grab at the waist and pull, and they come 
off, even if they are under an outer layer of waterproof clothing.



Dawn



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Subject: Re: [h-cost] Fwd: muffs
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I have had a particular interest in muffs since I first
saw the Venetian ladies in Vecellios book of woodcuts (1590) carrying them. I 
have the Dover book,
and there are two images of women carrying muffs. I've also seen a muff in a 
portrait of Minerva,
the artist's sister by Sofonisba Anguissola, 1559:

http://www.csupomona.edu/~plin/women/womenart.html

Boy, if there's a muff in that picture, it's sure hard to distinguish, Bella! 
 Love those dark Renaissance portraits!  I thank you for this, however, and 
have happily added it to the file.

Could you please give the full citation for the book of woodcuts?  I'd like 
to order the book.

Nancy




* * * * * * * * * * * * * * * * * * * * * * * * * * * *
Nancy Spies
Arelate Studio
www.weavershand.com/ArelateStudio.html
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From: Mara Riley <corbiegirl@yahoo.com>
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Subject: [h-cost] polar bear trousers, was wool in summer
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Polar bear trousers?  Sounds intriguing, can you tell us more?

-- Mara

--- Sheridan & Shane <shooie@sprint.ca> wrote:
> Heh,
> Winter has its own set of troubles, I have often been tempted to
> make a pair
> of polar bear trousers like the ones in the'Danish Textiles' book. 
> ;-)
> 
> Sheridan


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From: Mara Riley <corbiegirl@yahoo.com>
Subject: RE: [h-cost] Re: Hose/stockings
To: Historical Costume <h-costume@indra.com>
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Godwin sells hand-knit stockings:
http://www.gggodwin.com/stockings.htm

The stitch gauge is a bit large for the period, however.

Cheers,
Mara

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	Wed, 22 Oct 2003 09:34:55 PDT
Date: Wed, 22 Oct 2003 09:34:55 -0700 (PDT)
From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] bias binding
To: Historical Costume <h-costume@indra.com>
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Isn't that supposed to go the other way 'round -- you put the right
side of the binding to the right side (on the outside) of the stays,
with the edges even, sew it on, then flip the binding over to the
inside and whipstitch it down?

Cheers,
Mara

--- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> Hi Kat.
> Yes you are right, it is not as difficult as i thoaght it might be.
> I simply whipstitch the binding to the tabs on the backside, and
> then i turn
> and fold, and use some other stitches, wich i dont know what is
> called in
> english, to make a nice front.
> I am making this corset in silk taffeta, and it is very hard to
> stitch in,
> but it goes, all right.
> I think it would be much easyer to stitch in linen.
> 
> Bjarne

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] bias binding
Date: Wed, 22 Oct 2003 21:32:51 +0200
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Hi Mara,
Perhaps this is a better way? But i think (especially in the bottom of the
tabs, where you have to make a sharp corner) that it holds better, when you
whipstitch here, then turn over and sew invisible stitches.
I have a lot to learn yeat, specially when it comes to use the original ways
of doing things.
And when you once have made it, it should be easyer to use these old
teckniques in future works.
I also think, that most people just sew together all the pieces of the
corset into 2 whole corsets, turns them together right side to right side
and then fold out. But as i understand, this is wrong. Each section is
finished first with the boning and all, and then whipstitches to the next
section.
But i must admit, that i have never done that.
Perhaps i should try that next time.
Perhaps it will end up, that i stitch in hand all the bone channels
arghhhhhhhhhh!!!!
I have just finished all the tabs, and made the eyholes, so now i am ready
to fill in all the bones. This is always the funniest part for me, to se the
shape grow with the bones. Especially when you make the horizontal bones in
the front, it is incredible how it works!!!
Another thing, it really would be much nicer when you stitch all the
channels in hand, then there will not come all the ugly wrinkles that the
machine makes, when you sew the channels.



Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

http://home0.inet.tele.dk/drewscph/
----- Original Message -----
From: "Mara Riley" <corbiegirl@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 22, 2003 6:34 PM
Subject: Re: [h-cost] bias binding


> Isn't that supposed to go the other way 'round -- you put the right
> side of the binding to the right side (on the outside) of the stays,
> with the edges even, sew it on, then flip the binding over to the
> inside and whipstitch it down?
>
> Cheers,
> Mara
>
> --- Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:
> > Hi Kat.
> > Yes you are right, it is not as difficult as i thoaght it might be.
> > I simply whipstitch the binding to the tabs on the backside, and
> > then i turn
> > and fold, and use some other stitches, wich i dont know what is
> > called in
> > english, to make a nice front.
> > I am making this corset in silk taffeta, and it is very hard to
> > stitch in,
> > but it goes, all right.
> > I think it would be much easyer to stitch in linen.
> >
> > Bjarne
>
> __________________________________
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> The New Yahoo! Shopping - with improved product search
> http://shopping.yahoo.com
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>


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Subject: Re: [h-cost] bias binding
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 > Isn't that supposed to go the other way 'round -- you put the right
 > side of the binding to the right side (on the outside) of the stays,
 > with the edges even, sew it on, then flip the binding over to the
 > inside and whipstitch it down?
> >
>

Unless he has something that says it has to be that way, I would think it
would depend on what works best.  I've had times that attaching to the front
and whipstitching to the back works, and others when it comes out much
neater when the finial closing is on the front side.

Of course, I've been know to use decorative stitches instead of standard
hand stitches to finish something off.  I figure, if I have to do all this
handwork anyway, it might as well be pretty and showy as well as functional.

Cyn


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From h-costume-bounces@indra.com  Wed Oct 22 16:09:38 2003
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Date: Wed, 22 Oct 2003 20:12:10 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: h-costume Digest, Vol 2, Issue 689
References: <200310220354.h9M3sjaR020778@net.indra.com>
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My Sindy had a pair of something similar, although being the 70's they 
were flared.  (Very attractive lime green and pink big flowers, I seem 
to remember!)  The front and back waist and inside seam were all fully 
sewn, as if you were going to make them with an elasticated waistband, 
but the outside seam was left open.  My Sindy's trousers were 
wrap-around and tied at the side, but for tight ones you would use snaps 
or Velcro as described.

Jean

fastusminimus <cahuff@mindspring.com> wrote
>At 9:54 PM -0600 10/21/03, h-costume-request@indra.com wrote:
>>It was my privilege to see a pair of these pants in action a couple of
>>weeks ago, on the sexiest male stripper I ever watched.  They were fastened
>>all the way down each side with something like Velcro or snaps, such that
>>when he grabbed the front and pulled, the whole thing came off in his
>>hand.  I don't know what Britteney Spears wears.
>
>Thanks, I guess I need to get out more, do some research <G>!!!
>Ta
>Carol
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From h-costume-bounces@indra.com  Wed Oct 22 16:36:34 2003
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Date: Wed, 22 Oct 2003 13:35:04 -0700 (PDT)
From: Mara Riley <corbiegirl@yahoo.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Help identifying picture - peasant dance/wedding
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I need some help, folks -- I found the following pic on my computer,
but can't remember who the artist is:

http://www.marariley.net/Temp/peasants.jpg

Anyone know?

Thanks,
Mara

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From: Kirrily Robert <skud@infotrope.net>
Subject: [h-cost] 16th century bobbin lace tools and techniques
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I seem to recall there are some bobbin lace afficionadoes on this list,
so I hope you won't mind the slightly off topic post.
                                                                                                                  
Can anyone tell me where I might find information on the tools used by
16th century bobbin lace makers?  What kind of bobbins, what kind of
pillows, what were the pillows stuffed with, what did they use to make
their prickings, and so on.
                                                                                                                  
The best I have currently found are a few mid 17th century Dutch
portraits, from which I'll extrapolate if necessary, but if there are
16th century sources around then I'd obviously prefer that.
                                                                                                                  
(Yes, I have Le Pompe.  No, I don't have Levey's "Lace: A History".  Is
it worth the ILL when it comes to tools and techniques, or is it mostly
show-and-tell of different kinds of lace?)

Yours,

Kirrily


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Date: Thu, 23 Oct 2003 12:26:43 +1000 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Fwd: muffs
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> Date: Wed, 22 Oct 2003 11:59:22 EDT
> From: SNSpies@aol.com
> Subject: Re: [h-cost] Fwd: muffs

> http://www.csupomona.edu/~plin/women/womenart.html
> 
> Boy, if there's a muff in that picture, it's sure hard to distinguish, Bella! 
>  Love those dark Renaissance portraits!  I thank you for this, however, and 
> have happily added it to the file.

You're welcome. I've sorry you found it hard to see, but perhaps it will be easier to see if you
up the contrast and/or brightness on your monitor? In any case, I have played around with that
image, and upped the contrast and brightness on a copy, changed it to monochrome on another, and
also cropped to a close-up on another. I've webbed them for your convenience at:

<http://au.geocities.com/bella_lucia_da_verona/minerva.htm>

This is a much smaller muff than seen in the Vecellio woodcuts.

 
> Could you please give the full citation for the book of woodcuts?  I'd like 
> to order the book.


Sure, but I'd be happy to send you the relevant scans, if you prefer.

It's "Vecellio's Renaissance Costume Book - All 500 Woodcut Illustralions from the Famous
Compendium of World Costume" by Cesare Vecellio. Dover Publications, NY, 1977. ISBN: 0-486-23441-x



Bella
The Realm of Venus
http://realmofvenus.renaissancewoman.net

http://personals.yahoo.com.au - Yahoo! Personals
New people, new possibilities. FREE for a limited time.
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Bella, you are a dear. Thank you for the picture manipulations and the 
Vecellio citation!

Nancy


***********************************************************
Nancy Spies         Ingvild Josefsdatter, OL
Arelate Studio      Barony of Bright Hills, Atlantia
http://www.weavershand.com/ArelateStudio.html
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At 8:55 AM -0400 10/22/03, M Stewart wrote:
>Hey there Cassandra...
>
>Well if you can read any of the letters at all,   ie using the Latin 
>alphabet,  you're looking at Polish or possibly Magyar,  maybe a 
>remote Romanian (really doubt that).  All the other Eastern European 
>languages use the Cyrillic Alphabet.
>My bet would be Polish.


Not quite true -- there are a lot of other Slavic languages out there 
(and without some continuous text, it can be hard to second-guess the 
identification, since the Slavic languages diverged at a relatively 
shallow time-depth).  Off the top of my head, other Slavic languages 
than Polish that use the Latin alphabet include Czech, Slovak, and I 
believe all the various languages/dialects of the former Yugoslavia. 
If I'm remembering correctly, Bulgarian uses the Cyrillic alphabet. 
Romanian and Hungarian (Magyar) aren't Slavic and tend to be very 
different in look-and-feel from the Slavic family.

(One of my favorite language games is to take a document with 
instructions or warnings in a dozen or more different languages and 
see how many I can identify without actually being able to understand 
a word.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Going through my backed-up old emails....
If you don't mind a non-period cheat, you can thread a piece of strong
fishing line through the narrow hem on your ruffle, to give it some
stiffness.
Or you could do what was done to the ruffle on the 1540's boy's shirt in
the V&A--it had a tiny twisted, silk cord running just along the
outermost edge of the ruffle, held in place with little buttonhole
stitches. The cord and buttonhole stitches were the same color silk as
the embroidery on the collar and cuffs.... (I've actually tried that,
and it's pretty easy.)
--sue

kat@grendal.rain.com wrote:
> 
> > I had made the corset and had patterned the bodice already when I
> > attempted to re-create the ruffled edge of the chemise that shows at
> > the top of the collar.  I just could NOT get it to work!!  It is not a
> > ruff (which I *do* know how to make).  It is a ruffled edge of the
> > chemise that stands up and out of the collar.
> 
> It's probably made similar to the ruffs which within 20 years were
> often made as separate accessories but seem to be part of the
> shirt/chemise/half-shirt at this point.
> 
> http://www.vertetsable.com/demos_ruffs.htm
> 
> I've found that Laurellen's stacked pleat method usually turns out
> the way that your picture shows. It doesn't look like that if you
> cartridge pleat it as the pleats stand out differently so that you
> get more of the Dutch ruff look than the Italian look you want.
> 
> You'll want to make it smaller than what you would for the ruff she
> shows, but it seems to work fairly well as long as you don't use a
> fabric which is too thick. It needs to be slightly stiff but finely
> woven in something lightweight. Handkerchief linen would work, but it
> is about the outside limit of heaviness. A battiste might work if
> your edge treatment gives it a little more stiffness (such as a metal
> thread embroidery edge or a tightly rolled edge.)
> 
> Kat
> <kat@redtrollforge.com>
> 
> _______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century bobbin lace tools and techniques
Date: Thu, 23 Oct 2003 08:37:42 -0400
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Kirrily wrote:
<<(Yes, I have Le Pompe.  No, I don't have Levey's "Lace: A History".
Is
it worth the ILL when it comes to tools and techniques, or is it mostly
show-and-tell of different kinds of lace?)>>

Hi Kirrily!  I only have a facsimile of Levey, but it really just
discusses the history of bobbin lace, not the tools or techniques.  If
I'm wrong, please someone correct me because my facsimile may be missing
pages.

I am trying to do the same thing for 17th century lace as you are 16th
century, and I am relying primarily on pictures of lacemakers.  I don't
know if there's a book out there that has done the research already.
Most of the books I have called "A History of Lace" talk about its use,
not its manufacture, or they concentrate on the 19th century.

The best historical information I have on the history of lacemaking is
from Pat Earnshaw's "Needlelace".  I know it's not about bobbin lace,
but it touches on the subject a lot in the early pages of the book and
it draws valuable comparisons between cutwork and needlelace and the
bobbin lace that came to replace it.  I don't have any of Earnshaw's
books on bobbin lace, but I think they would definitely be worth a look.

Best of luck in your search.

Kass

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I missed the original discussion, but I'd love to know if 16th century peasants used muffs to keep their hands warm. If not, what did they use? I ask based on a rather chilly Renaissance festival last weekend ;)

Allison T.
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Nice selection of stuff with that sutler, but not a lot of info on
individual items (no pictures of the goods, or pattern covers, etc.).
Thanks for the link,
sue

Mara Riley wrote:
> 
> Godwin sells hand-knit stockings:
> http://www.gggodwin.com/stockings.htm
> 
> The stitch gauge is a bit large for the period, however.
> 
> Cheers,
> Mara
> 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
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My first thought was Breughel (because of the association with peasants
and dancing), but it doesn't strike me as done in his style....
Interesting pic., by the way!
--sue

Mara Riley wrote:
> 
> I need some help, folks -- I found the following pic on my computer,
> but can't remember who the artist is:
> 
> http://www.marariley.net/Temp/peasants.jpg
> 
> Anyone know?
> 
> Thanks,
> Mara
> 
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: Re: [h-cost] 16th century bobbin lace tools and techniques
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Dear Kirrily,
I must say, that i praktically dont know anything about this, although i
have made bobbin lace for many years.
But i would guess, that it would have looked similar to the 17th century
bobbin pillows you see on the paintings, and the thread bobbins would
probably be the same.
Also the round rolls you have seen, someone sits with it in the lap must be
very old. Rolls were made for endless lace, made by yarding.
I have heard something about the origin of the word bone lace refers to the
bobbins was made of fishbones, but i would say, it could just as well have
ben bobbins made of bones. I cant imagine a fishbone winded with thread, but
who knows?
The pillows were stuffed with chopped hay, this is the same case today.
The pricking cards were made of pig blatters. At least back in 18th century
Denmark, so i think it must have ben the same thing in 16th century, but i
am not sure.


Bjarne




Leif og Bjarne Drews
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----- Original Message -----
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 23, 2003 3:32 AM
Subject: [h-cost] 16th century bobbin lace tools and techniques


> I seem to recall there are some bobbin lace afficionadoes on this list,
> so I hope you won't mind the slightly off topic post.
>
> Can anyone tell me where I might find information on the tools used by
> 16th century bobbin lace makers?  What kind of bobbins, what kind of
> pillows, what were the pillows stuffed with, what did they use to make
> their prickings, and so on.
>
> The best I have currently found are a few mid 17th century Dutch
> portraits, from which I'll extrapolate if necessary, but if there are
> 16th century sources around then I'd obviously prefer that.
>
> (Yes, I have Le Pompe.  No, I don't have Levey's "Lace: A History".  Is
> it worth the ILL when it comes to tools and techniques, or is it mostly
> show-and-tell of different kinds of lace?)
>
> Yours,
>
> Kirrily
>
>
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Date: Thu, 23 Oct 2003 12:14:14 -0700 (PDT)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost] bobbin lace
To: Historical Costume <h-costume@indra.com>
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Bjarne,

in regards to the bobbins possibly having been made
from fish bone.

I know that the vertebrae are often made into beads of
a somewhat tubular shape, so perhaps they were using
those?

Angharad



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Subject: Re: [h-cost] 16th century bobbin lace tools and techniques
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Bjarne writes:


> The pillows were stuffed with chopped hay, this is the same case 
> today.

I'd never heard of that! The lacemakers in my neck of the woods stuff
their lace pillows with wool wadding. Seems the lanolin keeps the pins
from rusting. Interesting! :-)

Arlys


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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
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>My first thought was Breughel (because of the association with peasants
>and dancing), but it doesn't strike me as done in his style....
>Interesting pic., by the way!

> > I need some help, folks -- I found the following pic on my computer,
> > but can't remember who the artist is:
> >
> > http://www.marariley.net/Temp/peasants.jpg

I'd say it was 100 years after Brueghel, except that there are no ruffs or 
similar collars.  The womens' caps look early 17thC Dutch to me, as does 
the style of the painting.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] bobbin lace
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>Bjarne,
>
>in regards to the bobbins possibly having been made
>from fish bone.
>
>I know that the vertebrae are often made into beads of
>a somewhat tubular shape, so perhaps they were using
>those?

Chicken thigh bones would hold more thread and still be the right shape to 
use, so why use tiny fish bones?


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century bobbin lace tools and techniques
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Hi. Kirrily. There are two illos that I currently know of showing bobbin 
lace being made prior to the 17th cent. One is from the Nuw Modelbuch of 
1561, which has been reprinted and is available through (at least) 
Unicorn Books. The title page shows a pillow (square or rectangular), 
bobbins, pins and the pattern laid on the pillow. The second is (I 
think) 16th Cent. , and is on pg. 90 of Anne Catherine Buddes 
Monsterbog. The title of the illo reads "Figur 42: Udsnit af kobberstik 
af Theodor Galle (1571-1633) efter maleri fra o. 1560 af Johannes 
Stradanus (1523?-1605), visende kvinder beskaeftiget med tekstile 
arbejder. Det ses tydeligt, at defilerede net er udspaendt ved hjaelp af 
en trad, fort afvekslende ned i netmaske og op rundt om et af sommene 
langs rammens sider." I gather this means that the engraving (kobberstik 
or copperplate?) seen in the book is copied by Theodor Galle from a 
painting (maleri?) by Johannus Stradanus of textile workers (tekstile 
arbejder). How'd I do, Bjarne?  ;)   I muddle through German, so I could 
gather that much, I think, but the rest is better left to those skilled 
in their native language. Hope my attempt at translation hasn't offended 
the sensibilities of any folks out there, I know how some folks get 
touchy about Americans. If there is a painting by Johannes Stradanus, 
and it is before 1605, that might help. The pillow shown is inverted 
bowl shaped (half a sphere), and the bobbins are well shown. They look 
like modern Belgian bobbins (big globose bottoms, no spangles). My 
scanner is down, or I'd send them to you. Cheers, Mike T.



>  
>

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Subject: RE: [h-cost] 16th century bobbin lace tools and techniques
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> Kirrily wrote:
> <<(Yes, I have Le Pompe.  No, I don't have Levey's "Lace: A History".
> Is it worth the ILL when it comes to tools and techniques, or is it
> mostly show-and-tell of different kinds of lace?)>>
> 
> Hi Kirrily!  I only have a facsimile of Levey, but it really just
> discusses the history of bobbin lace, not the tools or techniques.  If
> I'm wrong, please someone correct me because my facsimile may be
> missing pages.
> 
> I am trying to do the same thing for 17th century lace as you are 16th
> century, and I am relying primarily on pictures of lacemakers.  I
> don't know if there's a book out there that has done the research
> already. Most of the books I have called "A History of Lace" talk
> about its use, not its manufacture, or they concentrate on the 19th
> century.

You might also find Margaret Abegg's _Apropos Fabrics_. It covers 16-
18th C and has pics of people doing the lace making, embroidering, 
etc.

Most of the techniques books don't have much history and vice versa. 
Encyclopedia style books may have a little more balance but tend to 
be less easy to follow.

Kat
<kat@redtrollforge.com>


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From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Weekend & linguistics
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Feel like getting together this weekend? If so, name a day and I'll be happy to come down. (And will try again to find all the banner stuff :) Clearly, it is my duty as your apprentice to keep you from becoming completely cross-eyed from working on the name book...?

Linguistic oddities of the week:

(1) Billboard with abstract pictures of T-shirts in bright colors. Complete text reads "More Bling-Bling for less Ka-Ching -- [name of store]" I hate to think of some poor non-native English speaker struggling with that one!

(2) Sign on front of Staples store: "Over 6,000 Office Supplies." So . . . one of those 6,000 is "an office supply"? Collective noun -> simple plural? And so the language continues to evolve..... (and no, I already know the story about "peas"... :)

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+  Davis, California
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Subject: Re: [h-cost] re: Muffs
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No original discussion, so you didn't miss anyting!
Apparently, muffs were a high fashion statement; we can only document them to 
the upper class so far.

Nancy

I missed the original discussion, but I'd love to know if 16th century 
peasants used muffs to keep their hands warm. If not, what did they use? I ask based 
on a rather chilly Renaissance festival last weekend ;)
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Sorry, that was supposed to be private.

____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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    A colleague has asked this question of me which I am unable to answer.  
Could someone help us out here, please?  Many thanks.

Nancy

It occurred to me the other day that you might be able to shed some light 
on a puzzle I've encountered while working on nuns' clothing.  It's about 
the cloth called "burnet."  The only definition I've found for this is, 
basically, "brown cloth."  (Oh, and I've found a connection between it and 
a particular English town---might've been Beverly; I'll have to check my 
notes.)  My problem is that I've found a number of references to burnet in 
connection with nuns, as a fabric they're forbidden to wear.  The 
implication (it seems to me) is that it's luxurious in some way.  Now, 
bishops could be very strict in what they considered luxurious and 
forbidden.  They won't allow the nuns to wear any color, so I guess it's 
possible that brown is forbidden altogether, because it's not black, white, 
or grey.  My impression from the records is that the nun's habit was not 
set in stone, as it would be (for each order) in modern times.  (I've 
ordered that book you told me about---thanks again for that!---but it's not 
out yet.)  So my question for you is whether burnet is just plain old brown 
cloth, any brown cloth, or whether it might be a particularly fine or 
bright brown cloth.  Maybe I'm just biased here by a modern notion of brown 
as a plain color?  

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Subject: Re: [h-cost] re: Muffs
Date: Fri, 24 Oct 2003 12:15:01 +1300
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> No original discussion, so you didn't miss anyting!
> Apparently, muffs were a high fashion statement; we can only document them
to
> the upper class so far.

I thought I just saw one in the German wall painting in Augsburg.. I'm just
checking... yes. She's wearing rather a large one actually.:
http://www.dhm.de/ausstellungen/kurzweil/nov.htm#schlitten

She is in a yellow over robe with a dark muff.

There are a few ladies with very large sleeves that appear to be lined in
fur but I'm not talking about them. Even though they might be mistaken for
holding muffs in the wider views.
http://www.dhm.de/ausstellungen/kurzweil/nov5.htm

They are probably not wealthy women, probably of the middle classes (middle
including Mayors apparently.) The figure in green may be carrying a bag, but
I don't know...

OK it is a basket type thing:
http://www.dhm.de/ausstellungen/kurzweil/dez2.htm

michaela
http://costumes.glittersweet.com


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Greetings everyone,
   
    I'm on another hunt.  A few years ago, I started and did a research 
paper on period pomanders. I even created the pomander resin balls by 
using a period recipe, although I did have to omit one or two 
ingredients because I could not locate the items or they were cost 
prohibitive. The items I had to omit, I tried to find a suggested 
substitute.
   Now I have the chance to create the "cage" for the pomander, but I 
would like to see/find picture sources of pre-17th century pomanders.
     I've gone through my books and the web, now I'm hoping someone out 
there can find me a good picture of one.  Can anyone help me?  Plus, I 
plan on creating a webpage diary on my pomander resin balls and the 
"cage" for them.  While I am add it, I will be adding my research paper 
on ailettes.
     Thanks ahead of time for any help.

Roscelin


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Subject: Re: [h-cost] Fwd: muffs
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You're welcome. :)


Bella

> Message: 7
> Date: Wed, 22 Oct 2003 23:17:10 EDT
> From: SNSpies@aol.com
> Subject: Re: [h-cost] Fwd: muffs

> Bella, you are a dear. Thank you for the picture manipulations and the 
> Vecellio citation!
> 
> Nancy


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Subject: [h-cost] John Marshall's Japanese clothing class
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At 07:42 AM 10/20/2003 -0600, you wrote:
>Ooooh, that sounds wonderful! (I've got his book ;o)
>--sue, hoping you'll tell us more details after the class is over....
>
>Kimiko Small wrote:
> >
> > It just will be a bit, after the gloves class is done, and definitely after
> > this weekend's class in Japanese clothing. Boy has that one been an eye
> > opener in many things, from clothing construction to natural dyeing
> > techniques of the Japanese. It's with John Marshall, and I am just in 
> heaven.




Hi Sue and all,

I am behind on emails, as I got sick after the end of the classes. Joy.

Anyway, I wanted to share a bit of John Marshall's class on 
Japanese/Oriental clothing construction that I just had. It is costume 
related, although not as much on historical costuming.

The class was with my local fiber arts guild. We had three days spent going 
over Japanese clothing styles and some construction techniques. Much of it 
is from his book, _Make Your Own Japanese Clothes_, that he wrote at the 
request of Japanese businessmen. He explained some of the non-traditional 
aspects for modern clothing designs that are shown in some detail in the 
book, but may be confusing on its own. He also showed us some of his 
collection of oriental clothing, from children's kimonos to Shinto and 
Buddhist priestly robes, to a few Chinese and African items. Some had some 
incredible embroidery and dyed patterns that were just awesome. I took over 
three rolls of film just on his collection, including some of his own 
garments, which are much better in person than in photos that some of you 
may have seen.

He isn't a tailor specifically, he is a dyer and a doll maker. He learned 
his dyeing art at the hands of a Japanese master who was dying of breast 
cancer, and she wanted her art to be shared with the west. He was her last 
student, and he inherited all her tools, materials, books and stuff. 
Because of her gift to teach him her skills, he believes in giving his gift 
to others, so he isn't secretive about what he knows. This is unusual 
amongst the Japanese dyers, who traditionally believe in the art remaining 
a trade secret.

He also shared info on various natural dyeing techniques, from gladiolas, 
to cocheniel making a black dye, to indigo to soy milk, which he uses to 
fix his dyes in the Japanese tradition. Soy milk is quite the interesting 
little bit of plant. Once soy milk is applied, allowed to dry, pressed or 
stretched, and allowed to cure for three weeks or more, fabrics with soy 
milk resists wrinkles and improves the dye, even to preventing the dye from 
crocking from fabrics. He has a booklet on the whole thing. Here is 
specific info on soy milk: http://www.johnmarshall.to/5-EDx-SoyMilk.html 
and http://www.johnmarshall.to/5-EDx-Sizing.html

He also talks a lot on how to deal with the business end of being a textile 
artist. Very informative and eye opening, even for a person like me who 
used to work in the business world. He is very open to sharing everything 
he knows about whatever he knows. And he is very straightforward about it 
all, good, bad, and ugly.

He even went beyond the fabrics and dyes. He taught us how to create 
garments from simple paper dolls, using graph paper, my basic body 
measurements, a pen, and scissors. Just those simple tools used in a 
creative way opened up new ideas of garment designs that can almost 
instantly be translated into actual patterns that will work! And he taught 
us about how the traditional garments of Japan uses fabric wisely and 
really well. In fact, it made me rethink some ideas I had about Irish 
leines, which has a basic shape to a Japanese kimono, especially in the 
sleeves. For example, the Japanese don't cut curves into their kimono 
sleeves, they sew them into a curve, hiding the extra material into the 
sleeve itself.

He also taught me some aspects of my own Japanese heritage that I just 
didn't know about before. My mom is Japanese, but some of the things I did 
as a child, or items she has in her collection, I just didn't know what it 
meant and because of him I now do. He opened an appreciation of where I 
come from that I never had before, and that made his class even more special.

For more info on him and his works, visit his web site at 
http://www.johnmarshall.to/ .

Oh, one more thing. He explained that the kimono market in Japan has 
bottomed out, not will soon be dying if something doesn't change, but has 
died because of many things, including the death of some masters of parts 
of the process. It means that kimonos will soon become rare, and hence much 
more expensive. So if you are thinking of buying kimonos for your 
collection, buy them within the next decade or so. Thankfully, I have my 
mom's collection already.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Thu Oct 23 22:41:10 2003
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Date: Thu, 23 Oct 2003 22:24:22 -0400
From: Judy Mitchell <judymitch@oldwaylane.net>
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Subject: [h-cost] paper-tape double help!
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Hi,
    I know it's making paper-tape doubles has been discussed 
before, so I know some of you have made them. I'm hoping to 
make one this weekend, but.....
     Most instructions I've seen call for the old style 
brown paper-tape that you have to get wet to make sticky. I 
can't find this tape anymore, will the regular sticky 
reinforced paper package tape work just as well?

     I'd rather make a hard shell than a duct tape for this, 
and I'mjust not sure of the materials.
     Thanks,
	-Judy Mitchell

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Subject: [h-cost] Piazza Pitti
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hello,

Does anyone have contact information for the costume curators at the 
Piazza Pitti in Florence?  I am looking for internships this next 
summer.  Any other museums in Italy (Venice, Florence, Rome) with 
costume collections from the renaissance?  Many thanks!

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From h-costume-bounces@indra.com  Thu Oct 23 23:22:33 2003
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	<4.3.1.2.20031023142506.05711a40@mail.frys.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
Date: Thu, 23 Oct 2003 23:20:27 -0400
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Carolyn is looking for the name of:

> > > http://www.marariley.net/Temp/peasants.jpg
>

Found it- the painting is called "The Village Wedding" and the painter is
Peter Paul Rubens (ca. 1640).

If you don't already know about these two web sites, you should.

Artcyclopedia-  http://www.artcyclopedia.com/

Web Gallery of Art-
                http://www.kfki.hu/~arthp/welcome.html

You can search by artist, title, genre, period, keywords, nationality (not
all options on each site).

                   -Helen/Aidan


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Date: Thu, 23 Oct 2003 20:27:43 -0700
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From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] "burnel"
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At 6:16 PM -0400 10/23/03, SNSpies@aol.com wrote:
>...My problem is that I've found a number of references to burnet in
>connection with nuns, as a fabric they're forbidden to wear.  The
>implication (it seems to me) is that it's luxurious in some way.  Now,
>bishops could be very strict in what they considered luxurious and
>forbidden.  They won't allow the nuns to wear any color, so I guess it's
>possible that brown is forbidden altogether, because it's not black, white,
>or grey. ...[snip]...  So my question for you is whether burnet is 
>just plain old brown
>cloth, any brown cloth, or whether it might be a particularly fine or
>bright brown cloth.  Maybe I'm just biased here by a modern notion of brown
>as a plain color?

I don't think that color is likely to be the issue -- my old copy of 
Fairchild's Dictionary of Textiles (1979) says that Burnet or 
Burnette is "a fine, brown or black woolen fabric made in 
13th-century England."

There was also a discussion not too long ago on a medieval-religion 
list I subscribe to on the history of habit colors, and one 
correspondent wrote:

>I am working on regulation of clerical dress just now, & 13th century
>synodal decrees on the habits of religious refer to black or brown,
>sometimes "nigra bruna" together.  Nothing specifies gray, but the friars
>are not as often mentioned as are monks & canons.

That lists's collective "guess" was that the intention was to use the 
undyed wool of "black" sheep -- so the difference between a "true" 
black and some shades of brown would be accidental and not of great 
concern. I don't know how far one can generalize from this, but it 
makes it seem unlikely that something brown would have been frowned 
on for reasons of color. I'd think that a more likely problem with 
"burnet" would be its fineness and expense.

For an analagous example, St. Francis of Assisi's (and his friend St. 
Clare's) surviving habits are greyish-brown, made from a blend of 
wool from white and "black" sheep (which can range anywhere from 
black to gray to brown to rust color, depending on the sheep and the 
weather). Small changes in the percentages of "black" vs. white wool 
can make this sort of fabric look significantly more brownish or 
grayish, and apparently Francis was not too picky about exactly what 
it looked like, since he merely said that the cloth should be "ash 
colored."

This reference is actually specifically about nuns:
>On this topic one may take a look at an article (in German) of
>Gerard Pieter Freeman, professor of Franciscan Studies at Utrecht,
>'Franziskanische Frauentrachten':
>http://www0.ktu.nl/fsc/artikel/frfr2.htm
>Freeman states that the Constitutions of Narbonne (1260) say that the colour
>of the habit should be "neither all white nor all black". There was no
>uniform colour, but only the natural range of colours of undyed wool.
>...[snip]... In his article he also refers to Eduard d'Alençon, Il colore
>dell'abito dei Frati Minori, in: Miscellanea Francescana 25 (1925) 3-12

-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: Re: [h-cost] Searching for pomanders
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> Plus, I 
> plan on creating a webpage diary on my pomander resin balls and the 
> "cage" for them.

I'll read that with great interest when it's ready.
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I may have missed it, but the site doesn't seem to give date/painter info for 
this painting.  Any clue?

Nancy

I thought I just saw one in the German wall painting in Augsburg.. 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] "burnel"
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Chris wrote:
> There was also a discussion not too long ago on a medieval-religion 
> list I subscribe to on the history of habit colors

What list is that, just out of interest?

K.
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] bobbin lace
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	<4.3.1.2.20031023142759.05708800@mail.frys.com>
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IIRC, I remember discussions on Lace list that mentioned the possibility
of our predecessors using fish bones for the *pins*, and not for the
bobbins.  I don't remember anyone having any definitive proof one way or
t'other, just lots of speculation.
My guess is, that's what Bjarne was actually referring to (he's on that
list, too.).
--sue, who uses anachronistic Midlands bobbins, because she gets to
*bead* them! wahoo! ;o)

Carolyn Kayta Barrows wrote:
> 
> >Bjarne,
> >
> >in regards to the bobbins possibly having been made
> >from fish bone.
> >
> >I know that the vertebrae are often made into beads of
> >a somewhat tubular shape, so perhaps they were using
> >those?
> 
> Chicken thigh bones would hold more thread and still be the right shape to
> use, so why use tiny fish bones?
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
> _______________________________________________
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Subject: Re: [h-cost] "burnel"
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Here's what the OED has to say about "burnet":

A. adj.    a. Of a dark brown colour.

c1200 Trin. Coll. Hom. 163 Hire mentel grene oer burnet. c1440 Promp. 
Parv. 56 Burnet colowre, burnetum. a1500 Voc. in Wr.-Wülcker 569 
Burnetus, burnet, color quidam est. 1513 DOUGLAS Æneis XII. Prol. 106 Sa 
mony diuers hew, Sum pers, sum paill, sum burnet, and sum blew.


b. absol.

a1450 Syr Peny v. in Rel. Ant. II. 108 He may gar them trayle syde In 
burnet and in grene. 1605 CAMDEN Rem. (1637) 194 The roabes..of Greene 
or Burnet.


B. n. A wool-dyed cloth of superior quality, orig. of dark brown colour.

1284 in Rogers Agric. & Prices. II. 536/3. c1325 Love song in Rel. Ant. 
II. 19 Of a blak bornet al wos hir wede. c1400 Rom. Rose 4759 As well be 
amourettes In mourning blak, as bright burnettes. 1753 CHAMBERS Cycl. 
Supp., Burnet, in middle age writers, denotes brown cloth made of dyed wool.



attrib. c1400 Rom. Rose 226 A burnet cote henge therwithalle.


¶See quot.

1616 BULLOKAR, Burnet, a hood, or attire for the head. 1623 in COCKERAM. 
1678 in PHILLIPS.


--Charlene

-- 
THE COW
The cow is of the bovine ilk;
One end is moo, the other, milk.
--Ogden Nash, Free Wheeling, 1931

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Subject: Re: [h-cost] Searching for pomanders
Date: Fri, 24 Oct 2003 02:19:35 -0400
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Try these:

Portrait of Queen Mary Tudor of England by  
     Anthonis Mor Van Dashorst (1554)
 
Portrait of Eleanor of Toledo with her son by Agnolo 
     Bronzino (1544)
 
Portrait of Jane Fitzalan by Steven van der Muelen 
     (1563)

Portrait of Lady Jane Grey (painter and date unknown)
     (full-length portrait in a gold and red gown)

A silver pomander belonging to Mary Stuart in the  
     collection at Holyrood (very cool- it splits apart like 
     into wedges like one of those chocolate oranges)

           -Helen/Aidan

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Here's what the OED has to say about "burnet":

A. adj.    a. Of a dark brown colour.

c1200 Trin. Coll. Hom. 163 Hire mentel grene oer burnet. c1440 Promp. 
Parv. 56 Burnet colowre, burnetum. a1500 Voc. in Wr.-Wülcker 569 
Burnetus, burnet, color quidam est. 1513 DOUGLAS Æneis XII. Prol. 106 Sa 
mony diuers hew, Sum pers, sum paill, sum burnet, and sum blew.


b. absol.

a1450 Syr Peny v. in Rel. Ant. II. 108 He may gar them trayle syde In 
burnet and in grene. 1605 CAMDEN Rem. (1637) 194 The roabes..of Greene 
or Burnet.


B. n. A wool-dyed cloth of superior quality, orig. of dark brown colour.

1284 in Rogers Agric. & Prices. II. 536/3. c1325 Love song in Rel. Ant. 
II. 19 Of a blak bornet al wos hir wede. c1400 Rom. Rose 4759 As well be 
amourettes In mourning blak, as bright burnettes. 1753 CHAMBERS Cycl. 
Supp., Burnet, in middle age writers, denotes brown cloth made of dyed wool.



attrib. c1400 Rom. Rose 226 A burnet cote henge therwithalle.


¶See quot.

1616 BULLOKAR, Burnet, a hood, or attire for the head. 1623 in COCKERAM. 
1678 in PHILLIPS.


--Charlene

-- 
THE COW
The cow is of the bovine ilk;
One end is moo, the other, milk.
--Ogden Nash, Free Wheeling, 1931

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Have had a virus warning mentioning some h-cost addresses

Kate Bunting
Library, University of Derby
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> I may have missed it, but the site doesn't seem to give date/painter info
for
> this painting.  Any clue?
>
> Nancy
>
> I thought I just saw one in the German wall painting in Augsburg..

The site is in german which certainly isn't my best language... but it is a
series of murals...

Clicking around brings up some info (züruck) is back so if you click that a
few times you come to the index.

Umm.. I couldn't find any info on the painter, but then babelfish only
translates a set amount of text.
  a.. Monthly picture cycle
  b.. After Joerg Breu D A. (around 1480-1537)
  c.. Augsburg, 16. Jh.
  d.. Oil/canvas
Interesting... the site says they are oil on canvas.. or at least the
translation does...
Leinwand

OK so babelfish and google say this is canvas.

I've seen it referred to as a mural a few times though.. ah well.

Search for "Augsburger Monatsbilder" and you'll be sure to find more info.

michaela
http://costumes.glittersweet.com


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Searching for pomanders
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Helen Pinto wrote:

> A silver pomander belonging to Mary Stuart in the  
>      collection at Holyrood (very cool- it splits apart like 
>      into wedges like one of those chocolate oranges)

I believe there's one of these at Agecroft Hall in Virginia.  You can 
find contact info on their website at http://www.agecrofthall.com

Cheers,
Melanie Schuessler


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From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
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--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> > > http://www.marariley.net/Temp/peasants.jpg
> 
> I'd say it was 100 years after Brueghel, except that there are no
> ruffs or 
> similar collars.  The womens' caps look early 17thC Dutch to me, as
> does 
> the style of the painting.

Yes, that's why I'm so interested...  I _thought_ it was Rembrandt or
Rubens, but I can't find this in any online searches of their work! 
:P

-- Mara

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From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] paper-tape double help!
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Hi, Judy,
I found some at Staples (in Waldorf, MD) this past week.  

Cheers,
Mara

--- Judy Mitchell <judymitch@oldwaylane.net> wrote:
> Hi,
>     I know it's making paper-tape doubles has been discussed 
> before, so I know some of you have made them. I'm hoping to 
> make one this weekend, but.....
>      Most instructions I've seen call for the old style 
> brown paper-tape that you have to get wet to make sticky. I 
> can't find this tape anymore, will the regular sticky 
> reinforced paper package tape work just as well?
> 

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From: Mara Riley <corbiegirl@yahoo.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
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--- Helen Pinto <hpinto@mindspring.com> wrote:
> Found it- the painting is called "The Village Wedding" and the
> painter is
> Peter Paul Rubens (ca. 1640).

Woo hoo, thanks!

> If you don't already know about these two web sites, you should.
> 
> Artcyclopedia-  http://www.artcyclopedia.com/
> 
> Web Gallery of Art-
>                 http://www.kfki.hu/~arthp/welcome.html
> 
> You can search by artist, title, genre, period, keywords,
> nationality (not
> all options on each site).
> 
>                    -Helen/Aidan

The first site has it, the second doesn't, and of course, the second
site is the one I'd already searched.  Go figure...

Thanks,
Mara

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Date: Fri, 24 Oct 2003 09:12:44 -0500
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Subject: Subject: Re: [h-cost] 16th century bobbin lace tools and
	techniques
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Hi. Kirrily. There are two illos that I currently know of showing bobbin

lace being made prior to the 17th cent. One is from the Nuw Modelbuch
of 
1561, which has been reprinted and is available through (at least) 
Unicorn Books. <snip>
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
What Mike said :).  I was going to suggest checking out the various
16th C pattern books for woodcuts but did not have the titles handy here
at work.  Mike did :).

I'm doing some reseach on this myself right now and hard facts on
bobbin lace from the 16th century are difficult to find.  And all those
books by the 'experts' from the turn of the century don't help (sound of
teeth gnashing).  

In regards to pillow stuffing, I just took a workshop on bobbin lace
last weekend and one of the attendees was originally from
Czechoslovakia, where she had taken BL classes 3 times a week as a
child.  She did beautiful work!  She used a large bolster pillow she had
stuffed herself, very tightly, with straw.  She had been using the same
pillow for 3 years.  We didn't realize until the end of class that she
had had another project, covered, on the reverse side of the pillow the
whole time.  She did most of her work with the bobbins in hand and they
really flew!

Catherine

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: [h-cost] Testing
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yes, Norton deleted an incoming email, from h-cost yesterday.  

Lisa Sinervo


----- Original Message ----- 
From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
To: <h-costume@indra.com>
Sent: Friday, October 24, 2003 12:55 AM
Subject: [h-cost] Testing


> Have had a virus warning mentioning some h-cost addresses
> 
> Kate Bunting
> Library, University of Derby
> _______________________________________________
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> 


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From h-costume-bounces@indra.com  Fri Oct 24 10:32:17 2003
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Date: Fri, 24 Oct 2003 15:31:27 +0100
To: Historical Costume <h-costume@indra.com>
From: Lynne Connolly <lynneconnolly@ntlworld.com>
Subject: Re: [h-cost] Help identifying picture - peasant dance/wedding
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On 14:45 24/10/2003 Mara Riley said

>--- Carolyn Kayta Barrows <kayta@frys.com> wrote:
> > > > http://www.marariley.net/Temp/peasants.jpg
> >
> > I'd say it was 100 years after Brueghel, except that there are no
> > ruffs or
> > similar collars.  The womens' caps look early 17thC Dutch to me, as
> > does
> > the style of the painting.

 From the style it is early to mid seventeenth century Dutch. Probably by a 
Catholic artists, as Protestant artists tended to use a more severe style. 
It looks like a bucolic painting, perhaps one of those peasant wedding 
pictures the Dutch were so fond of.
Try Rubens, Brouwer, Hals. I'm pretty sure it isn't a Rubens, but you never 
know. The palette is wrong, and the composition, for Rubens. After Rubens, 
maybe, or by his studio. Jordaens, perhaps, although his paintings were 
generally more intimate. A bit late for Teniers and not his style. Not a 
Breughel.
Here's a similar painting to keep yours company. This is a Rubens.
http://www.abcgallery.com/R/rubens/rubens48.html



Lynne Connolly, GSOLFOT
Award winning Historical Romance author.
http://homepage.ntlworld.com/lynneconnolly/
The Richard and Rose books from 
<http://www.novelbooksinc.com/>Novelbooks<http://www.novelbooksinc.com/> Inc.
YORKSHIRE, DEVONSHIRE and now VENICE. VANESSA from 
<http://www.awe-struck.net/>Awe-Struck


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---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.529 / Virus Database: 324 - Release Date: 16/10/2003

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From h-costume-bounces@indra.com  Fri Oct 24 10:41:24 2003
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Subject: [h-cost] Sixth Century Saxon
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A friend just called me with questions about clothing for Saxons at the 
time of the invasions of Britain. Possible interest also in 
Romano-British at the same time. Something about being a movie extra?

He wants to do it right, I want him to do it right, and I know nothing 
about it. Any suggestions where I could find information fast?

If anyone else brought this up, pardon me - I've had the list on no-mail 
for a while. Caught a Halloween gig, and you know, paid work and all 
that... I've had no time.

Thanks.

Anne

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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Searching for pomanders
Date: Fri, 24 Oct 2003 09:53:11 -0500
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Victoria and Albert Museum's "European Jewellery" book has several pictured
as well, both open and closed.

T.

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Helen Pinto
> Sent: Friday, October 24, 2003 1:20 AM
> To: Historical Costume
> Subject: Re: [h-cost] Searching for pomanders
>
>
> Try these:
>
> Portrait of Queen Mary Tudor of England by
>      Anthonis Mor Van Dashorst (1554)
>
> Portrait of Eleanor of Toledo with her son by Agnolo
>      Bronzino (1544)
>
> Portrait of Jane Fitzalan by Steven van der Muelen
>      (1563)
>
> Portrait of Lady Jane Grey (painter and date unknown)
>      (full-length portrait in a gold and red gown)
>
> A silver pomander belonging to Mary Stuart in the
>      collection at Holyrood (very cool- it splits apart like
>      into wedges like one of those chocolate oranges)
>
>            -Helen/Aidan
>
> _______________________________________________
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-taps Yahoo- Stop delaying/deleting my e-mail would you?

Anyhow.  www.emmaonesock.com has "heavier weight" natural-colored linen 
muslin on sale, $6 a yard.  The website states that it's not "stiff or coated", so 
it might be worth buying and dye-ing, though certainly not for a chemise.  
The site also has a lovely natural-colored linen jacquard from Russia.

Christine
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My photographer friend Don McClane has just posted his photos from this
past weekend's Known World Costume Symposium in Denver. You'll find them
here:

http://www.tancos.net/costume/kwcs03.html

These are only the participants in the Walk Through History (and I think
even some of those people didn't stop by and get photographed, a shame).

Feel free to forward this to other people who may be interested.

--Robin





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I can find loads of information on women's costume for this period and location but for men I really cannot find any sort of amount. Studying portraiture is a fine start however I can't see legs. :-) Here's my question My husband will wear hose (bless his heart) But what about shoes? He would prefer boots. I am concerned these are not true to period and location. So far we have decided black doublet, pumpkinpants (slops I believe), and red hose possibly adding a cape. Are we heading in the right direction? Links please :-)

Thank you so much, Angelique


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Subject: Re: [h-cost] Sixth Century Saxon
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----- Original Message -----
From: "AF Murphy"

> A friend just called me with questions about clothing for Saxons at the
> time of the invasions of Britain. Possible interest also in
> Romano-British at the same time. Something about being a movie extra?
>
> He wants to do it right, I want him to do it right, and I know nothing
> about it. Any suggestions where I could find information fast?
>
> If anyone else brought this up, pardon me - I've had the list on no-mail
> for a while. Caught a Halloween gig, and you know, paid work and all
> that... I've had no time.
>
> Thanks.
>
> Anne


Hi,
Here are some web sites that I hope will help:

http://www.angelcynn.org.uk/

http://www.florilegium.org/files/CLOTHING/cl-Rom-Brit-art.html

http://www.rook.org/heritage/german/anglosaxon.html

http://www.regia.org/   (These are the guys you see in all of the BBC and
History channel shows involving the dark ages)


Sheridan

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

Experience is a wonderful thing. It enables you to
recognize a  mistake when you make it again.





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Bluet, blanket, and scarlet were types of cloths -- my guess would be that
burnet was a type of cloth and not a color, unless the color was integral to
the type of cloth (though the word "brunette" might make one look for a
connection, just as 'scarlet' makes a modern person think of bright red). I
think Robin Netherton is the person who once posted about the cloth names
above, so maybe she can shed some light on this. Otherwise, I'd head for the
library and check out the OED.

Gail Finke


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Robin Netherton wrote:

> My photographer friend Don McClane has just posted his photos from this
> past weekend's Known World Costume Symposium in Denver. You'll find them
> here:
> 
> http://www.tancos.net/costume/kwcs03.html

Thanks! It's always nice to see what other people are making. I 
particularly like how the photographer has them against a blank, neutral 
colored wall. Our local costume event is held in a church, and the 
photos get taken against a stained glass window, which is pretty, but 
makes for lousy contrast when you try to study the photos afterward. :/



Dawn



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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: burnet
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On Fri, 24 Oct 2003, Gail & Scott Finke wrote:

> Bluet, blanket, and scarlet were types of cloths -- my guess would be
> that burnet was a type of cloth and not a color, unless the color was
> integral to the type of cloth (though the word "brunette" might make
> one look for a connection, just as 'scarlet' makes a modern person
> think of bright red). I think Robin Netherton is the person who once
> posted about the cloth names above, so maybe she can shed some light
> on this. Otherwise, I'd head for the library and check out the OED.

I'd use the OED only to supplement other sources. It's really rather
unreliable when it comes to finding early or technical references to cloth
and clothing, though it's nice for finding examples from more mainstream
documents, particularly literature.

To my understanding, "bluett" was specifically a blue cloth (a cheap
woolen, apparently the cheapest dyed cloth available in the contexts for
which I've seen references). The term "blanket" originally meant undyed
cloth made from wool of a white sheep (blank = blanc); the name only later
took on its modern meaning. "Russet" was undyed cloth made from wool of a
black sheep and was more valuable than blanket because it had color to it,
but cheaper than bluett because it was not dyed.  I got this information
mostly from Christopher Dyer's "Standards of Living in the Later Middle
Ages," in a section discussion cheap cloth available to the average
workingman, though I've seen the words used consistent with these
definitions in other sources.

We also had a good discussion of the changing use of the word "russet" on
the list a while back. By the 16th century (or maybe part of the 15th)
"russet" had taken on a color connotation of a reddish brown in some
contexts, but was simultaneously used in its older meaning as a cloth name
(undyed black wool, which might be grey or brown) in other contexts. So
meaning depends a great deal of time period, and also on the type of
document you're looking at.

Scarlet, as you note, was a cloth rather than a color name, though I do
think that it was most commonly a red, wasn't it?

I have no idea about burnet. The people to ask would be Susan
Carroll-Clark and Tom Izbicki, both of whom have done work in clothing
restrictions for clerical people, and I bet it was one or the other that
was being quoted in Chris Laning's repost from the medieval religion list.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] KWCS photos
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On Fri, 24 Oct 2003, Dawn wrote:

> > http://www.tancos.net/costume/kwcs03.html
> 
> Thanks! It's always nice to see what other people are making. I 
> particularly like how the photographer has them against a blank, neutral 
> colored wall. Our local costume event is held in a church, and the 
> photos get taken against a stained glass window, which is pretty, but 
> makes for lousy contrast when you try to study the photos afterward. :/

Don takes a "photojournalist" approach to these sorts of pictures -- he
wants to document how the costumes look in wear, not to create a
"medieval" image. (In fact, there was another photographer there doing
spiffy "period-style" portraits superimposed over medieval-type
backgrounds.) You can find Don's photos from earlier events -- KWCS I, and
a few Calontir Clothiers' symposiums -- if you take the links at the
bottom of the page.

I'm annoyed that I didn't think to get some portraits done of my new
Gothic fitted dress while I was wearing it for my lectures that day. Don
takes all my costume photos (as well as photos of my kids, something I
neglect to do!). But he was dancing all day at the event, and I was back
in modern clothes before he set up the "studio."

--Robin


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too fantastic! Thanks for the link- Angelique


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Boots are not completely wrong for the Elizabethan Male as long as they are of the correct style. The huge bucket-top cavalier boots aren't around yet, nor are the modern calf-high motorcycle style. What you need for an Elizabethan man's boot is something with a softly rounded toe, slim fitting thru the calf and knee, with a moderate turn down. The line of the leg was very slender. They were considered the gear of fighters and explorers but which would be changed as soon as possible for low shoes so as to be properly dressed in polite society. Remember, men WANTED to show off their fine legs! Correct period boots are pretty expensive- you might want to consider low shoes for simple economic reasons. 

As for the rest of the outfit, it sounds good, but I'd definitely add the cape. It really finishes off the look of the outfit and isn't really that hard to make. I wish I could send you links, but I'm at work right now and I don't have any of my costuming sources bookmarked here. I'm sure other folks on the list can point you to soem good resources.

Karen

-- me <ivycircle@yahoo.com> wrote:

I can find loads of information on women's costume for this period and location but for men I really cannot find any sort of amount. Studying portraiture is a fine start however I can't see legs. :-) Here's my question My husband will wear hose (bless his heart) But what about shoes? He would prefer boots. I am concerned these are not true to period and location. So far we have decided black doublet, pumpkinpants (slops I believe), and red hose possibly adding a cape. Are we heading in the right direction? Links please :-)

Thank you so much, Angelique


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Talia wrote:

>Victoria and Albert Museum's "European Jewellery" book has several pictured
>as well, both open and closed.

Other big, fat history-of-jewelry books are likely to have one or two of these pictured as well.

And I believe there was a pomander "cage" in the Cheapside Hoard. (I don't remember which British museum that's in, though.)

The biggest surprise I had was the small (around 2 inches diameter) size of most pomanders, especially since you often see costumers using a 3-inch pierced-metal Christmas ornament as a base for theirs. This is far bigger than the extant examples and would make a potentially lethal weapon if it was hanging from the end of your girdle and you turned around quickly! <g>

The extant ones I've seen are more like the size of a small "tea ball" (pierced metal container into which you put tea leaves to brew a cup of hot tea, so they can be removed before drinking). I've also seen brass wire cat-toys that consist of several 2-inch circles arranged like the longitude lines of a sphere and soldered together. They come with a small bell or yarn puff inside (which is easily removed).

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The danish word for a pomander is: "hovedvands æg" translated to english it
gets to headwater eggs. This is because most of them had the shape of an
egg.
This was something ladies always carried with them to church, so that when
the smell got two bad, they could freshen the air with these eggs. They had
a small pillow inside, wich was watered with the perfume.
Here is an example from arround 1800
http://www.gauguin.dk/auction/XcAPViewItem.asp?ID=7510


Bjarne
----- Original Message -----
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Sent: Friday, October 24, 2003 9:13 PM
Subject: RE: [h-cost] Searching for pomanders


/h-costume


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I know that a few monthes ago people were discussing Elizabethan gloves...  Does anyone have information, patterns, websites, books, anything to send me in the right direction?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Date: Fri, 24 Oct 2003 12:57:21 -0700
Subject: Re: [h-cost] Searching for pomanders
From: Lynn Downward <LDownward@chori.org>
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Wow, Bjarne, it really does look like an egg cup from someone's breakfast
table, except the sulphur in the egg would do terrible things to the silver.

LynnD

On 10/24/03 12:33 PM, "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
wrote:

> The danish word for a pomander is: "hovedvands æg" translated to english it
> gets to headwater eggs. This is because most of them had the shape of an
> egg.
> This was something ladies always carried with them to church, so that when
> the smell got two bad, they could freshen the air with these eggs. They had
> a small pillow inside, wich was watered with the perfume.
> Here is an example from arround 1800
> http://www.gauguin.dk/auction/XcAPViewItem.asp?ID=7510
> 
> 
> Bjarne
> ----- Original Message -----
> From: "Chris Laning" <claning@igc.org>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, October 24, 2003 9:13 PM
> Subject: RE: [h-cost] Searching for pomanders
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Robin Netherton wrote:

> My photographer friend Don McClane has just posted his photos from
this
> past weekend's Known World Costume Symposium in Denver. You'll find
them
> here:
> 
> http://www.tancos.net/costume/kwcs03.html 

Thanks! It's always nice to see what other people are making. I 
particularly like how the photographer has them against a blank,
neutral 
colored wall. Our local costume event is held in a church, and the 
photos get taken against a stained glass window, which is pretty, but 
makes for lousy contrast when you try to study the photos afterward.
:/

Dawn
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Dawn, if this is the event I am thinking of (February, in Olathe?),
this is the same photographer :).  It could be a space issue but you
have a good point and maybe we can get him move for 04.

Thanks for posting the site Robin!

Catherine


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Subject: [h-cost] Re: bobbin lace
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--sue, who uses anachronistic Midlands bobbins, because she gets to
*bead* them! wahoo! ;o)
>>>>>>>>>>>>>>>>>>>>>>>>>>>

Amen Sister!  bead addiction is the dirty-little-secret of us bobbin
lacers who use the Midlands bobbins :) :) :).

Catherine

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Audrey, as soon as I have it up and running I will let everyone know.  I 
need to find my hard copy of the research paper.  We moved earlier this 
year and I'm still looking for a few of my papers.  I really need to 
update the research.

Roscelin

Audrey Bergeron-Morin wrote:

>>Plus, I 
>>plan on creating a webpage diary on my pomander resin balls and the 
>>"cage" for them.
>>    
>>
>
>I'll read that with great interest when it's ready.
>  
>

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At 03:51 PM 10/24/2003 -0400, you wrote:
>I know that a few monthes ago people were discussing Elizabethan 
>gloves...  Does anyone have information, patterns, websites, books, 
>anything to send me in the right direction?
>
>Kit


Hi Kit

I am taking an Elizabethan glove making class from Franchesca Havas. She is 
teaching at Penny's online Costume Classroom.
http://www.costumeclassroom.com/
Looking at the schedule, she will be teaching the class again in January. I 
am learning a lot from her through this online setting, especially as it is 
at my own pace.

Franchesca also has her own website.
http://www.glove.org/

I also found another site for gloves, but I think they base their info on 
Franchesca's work.
http://www.vertetsable.com/demos_gloves.htm

If you can, I would highly recommend taking her class in January. Being 
able to ask her questions on things has really helped me out, as sometimes 
I take things too seriously twisting my brain around something simple, and 
she is very calm and tells me to take a brake and enjoy some tea, at which 
point what she is telling me finally clicks, as it is much easier than I am 
making it out to be.

hth

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Chris Laning wrote:

Chris:  Other big, fat history-of-jewelry books are likely to have one 
or two of these pictured as well.

The one other history of jewelry book I have is "Jewelry 70, 000 Years". 
 I've already created the jeweled pomander resin ball.  Even entered it 
and my research on pomanders at an Art and Science get together and was 
given an award.  And was encouraged by the friends and the judges to 
create the "cage" part.  Now that my jewelry skills have improved, I'm 
going to attempt to recreate the silver type of "cage".

Chris:  And I believe there was a pomander "cage" in the Cheapside 
Hoard. (I don't remember which British museum that's in, though.)

Thanks.  I'll see what I can find out.

Chris:  The biggest surprise I had was the small (around 2 inches 
diameter) size of most pomanders, especially since you often see 
costumers using a 3-inch pierced-metal Christmas ornament as a base for 
theirs. This is far bigger than the extant examples and would make a 
potentially lethal weapon if it was hanging from the end of your girdle 
and you turned around quickly! <g>

Yeah, they are actually quite small.  I have a book that shows 17th C. 
silver pomanders and perfume flagons.  My youngest son gifted me with 
one of the Christmas ornament types, and yes they can be deadly.  I 
believe I received a bruise on the leg from it.  :)

Chris:  The extant ones I've seen are more like the size of a small "tea 
ball" (pierced metal container into which you put tea leaves to brew a 
cup of hot tea, so they can be removed before drinking). I've also seen 
brass wire cat-toys that consist of several 2-inch circles arranged like 
the longitude lines of a sphere and soldered together. They come with a 
small bell or yarn puff inside (which is easily removed).

I know what the silver ones look like, but would like to try to recreate 
one or at least one that closely resembles it.  If I don't find one 
before I have to start the jewelry project for my class I have started 
to come up with designs for one.  It will be about 2", sterling silver, 
hinged with some kind of clasp (this the one thing I really would like 
to know what the period clasp would look like), I will either pierce it 
with diamond or heart cut outs, and I just found a fluer-de-le punch.   
I'll have the design drawn out and posted on the website when I get it 
up and running along with diary pictures of the work in progress.


Thanks for the info and help.

Roscelin

>  
>
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Dawn wrote:

> Thanks! It's always nice to see what other people are making. I
> particularly like how the photographer has them against a blank,
> neutral colored wall. Our local costume event is held in a church, and
> the photos get taken against a stained glass window, which is pretty,
> but makes for lousy contrast when you try to study the photos
> afterward. :/

Catherine responded:

> Dawn, if this is the event I am thinking of (February, in Olathe?),
> this is the same photographer :).  It could be a space issue but you
> have a good point and maybe we can get him move for 04.

Hi, Catherine ;-)

If you're thinking of Clothiers', Don has his photos from 1999 (?) and
2000 on the same site:

http://www.tancos.net/costume/clothiers.html
http://www.tancos.net/costume/00clothiers.html

... but none of those have a stained-glass window background. Don
generally brings his own backdrops to use if he can't find a blank wall. I
don't think he's been to Clothiers' for the last few years, so perhaps
there's been another photographer there?

--Robin


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Roscelin-
You can find the first two portraits at either Web Gallery of Art or Artcyclopedia; 
find it by painter search.  The two Janes will turn up if you search altavista by 
images using their full names.  The pomander also turned up in the altavista 
images.  Maybe some others on the list can help you with the location of these 
items in books.
                         -Helen


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Lynn and Bjarne,
   There are a couple of 18th and 19th C. ones on Ebay right now.  Or at 
least they were there yeseterday when I was hunting all over for some 
pictures of pomanders.
    During the middle ages, both men and women wore them supposably the 
scent would chase away the plague or any other disease.  And of course, 
they were worn to cover up any other disagreeable smells.   Many times 
they were also on rosaries.  On the rosaries I have seen they look like 
large silver, pierced beads.  I may make one of these also.
   Thank you, Bjarne, for the Danish word for pomanders.  My ancesters 
are from Denmark.  :)

Roscelin

Lynn Downward wrote:

>Wow, Bjarne, it really does look like an egg cup from someone's breakfast table, except the sulphur in the egg would do terrible things to the silver.
>
>LynnD
>
>On 10/24/03 12:33 PM, "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
>wrote:
>
>  
>
>>The danish word for a pomander is: "hovedvands æg" translated to english it gets to headwater eggs. This is because most of them had the shape of an egg.
>>This was something ladies always carried with them to church, so that when the smell got two bad, they could freshen the air with these eggs. They had a small pillow inside, wich was watered with the perfume.
>>Here is an example from arround 1800
>>http://www.gauguin.dk/auction/XcAPViewItem.asp?ID=7510
>>
>>
>>Bjarne
>>    
>>



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Kit,

Franchesca aka Chesa teaches a class on my Costume Classroom on how to make
Elizabethan Gloves.  Her next class starts in January.

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


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Thank you, Melanie.  I'll have to write them.  I've already sent off a 
letter to the Victoria and Albert Museum and plan on writing to the 
London Museum in the very near future.

Roscelin

Melanie Schuessler wrote:

> Helen Pinto wrote:
>
>> A silver pomander belonging to Mary Stuart in the       collection at 
>> Holyrood (very cool- it splits apart like      into wedges like one 
>> of those chocolate oranges)
>
>
> I believe there's one of these at Agecroft Hall in Virginia.  You can 
> find contact info on their website at http://www.agecrofthall.com
>
> Cheers,
> Melanie Schuessler
>
>
> http://www.faucet.net/costume
> http://www.coastal.edu/theater
>
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Helen,
   Where can I find these pictures?  The only Elizabethan book I have is 
"Queen Elizabeth Wardrobe Unlock'd".   My personna is closer to 14th C., 
although I have done an Elizabethan gown or two on grand occassions.
   Thank you for letting me know where to look.

Roscelin

P.S.  I've seen the Mary Stuart one before.  But unfortnately my jewelry 
skills are not quite that good yet.  :)

Helen Pinto wrote:

>Try these:
>
>Portrait of Queen Mary Tudor of England by  
>     Anthonis Mor Van Dashorst (1554)
> 
>Portrait of Eleanor of Toledo with her son by Agnolo 
>     Bronzino (1544)
> 
>Portrait of Jane Fitzalan by Steven van der Muelen 
>     (1563)
>
>Portrait of Lady Jane Grey (painter and date unknown)
>     (full-length portrait in a gold and red gown)
>
>A silver pomander belonging to Mary Stuart in the  
>     collection at Holyrood (very cool- it splits apart like 
>     into wedges like one of those chocolate oranges)
>
>           -Helen/Aidan
>
>_______________________________________________
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>
>  
>



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Subject: Re: [h-cost] Searching for pomanders
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Thanks, Helen.

Roscelin

hpinto@mindspring.com wrote:

>Roscelin-
>You can find the first two portraits at either Web Gallery of Art or Artcyclopedia; find it by painter search.  The two Janes will turn up if you search altavista by images using their full names.  The pomander also turned up in the altavista images.  Maybe some others on the list can help you with the location of these 
>items in books.
>                         -Helen
>
>
>  
>



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Subject: Re: [h-cost] Mens Costume 1520-1560 florence, venice
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> I can find loads of information on women's costume for this period and
location but for men I really cannot find any sort of amount. Studying
portraiture is a fine start however I can't see legs. :-)

Some of them do show legs. Did you look through pictures on the Web Gallery
of Art (gallery.euroweb.hu)? I went to advanced search and asked for
Painting, Portrait, Italian, 1500-1550 and then the same for 1550-1600. The
majority don't show legs, but some do.

> Here's my question My husband will wear hose (bless his heart) But what
about shoes? He would prefer boots. I am concerned these are not true to
period and location.

Hmm, most, if not all portraits I could find show slipper-type shoes, but
with slops I know that, at least in England, high bucket boots could also be
worn (the type that goes over the knee, or that you can fold the flap down
below the knee). Not with Venetian breeches, though! (I don't know if high
boots were worn in Italy, but you could always say he got them while
travelling to England! That's what I'll do when I make/buy/obtain a pair of
chopines - say I got them from Venice, even if I usually prefer Florentian
fashion. People travelled a lot more than we tend to think.)

Good links for shoes
http://www.personal.utulsa.edu/%7Emarc-carlson/shoe/SLIST5.HTM (patterns)
http://www.raveness.com/renaissance/shoes.html (pictures)

> So far we have decided black doublet, pumpkinpants (slops I believe), and
red hose possibly adding a cape. Are we heading in the right direction?
Links please :-)

I think you're heading in the right direction. Black was very, very popular
at the time. I think the second most popular colors must have been
everything in the red to pink tones, so you choice of colors seem fine.
Italy seemed to favor slops over breeches, even if we call them Venetian
breeches - but breeches might just be a later fashion - I haven't looked at
enough portraits yet to tell. So, slops are fine. The longish ones seem more
popular than the very short ones (short ones seem, again, to be more English
than Italian). I can't see cloaks on portraits, though. They seem to have
been more popular in England. What Italians have, most of the times, is a
kind of overcoat with short sleeves or a kind of epaulette, lined with fur.
As for links, again I suggest you browse through the hundreds of paintings
on the Web Gallery of Art.
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Thanks, Talia.  I'm going to check with my library and see if they have 
a copy.  Thank goodness I finally learned about the ILL, it has been a 
God send.

Roscelin

Talia wrote:

>Victoria and Albert Museum's "European Jewellery" book has several pictured
>as well, both open and closed.
>
>T.
>
>  
>



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Subject: Re: [h-cost] Testing
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It's not necessarily from h-cost. Many viruses fake addresses and From
fields. It just means someone had your address and h-cost address, or h-cost
messages, in their mailbox. Norton didn't warn me about anything from
h-cost, and it's always updated, so it might not be from h-cost directly,
just from a common acquaintance.

----- Original Message ----- 
From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 24, 2003 10:31 AM
Subject: Re: [h-cost] Testing


> yes, Norton deleted an incoming email, from h-cost yesterday.
>
> Lisa Sinervo
>
>
> ----- Original Message ----- 
> From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
> To: <h-costume@indra.com>
> Sent: Friday, October 24, 2003 12:55 AM
> Subject: [h-cost] Testing
>
>
> > Have had a virus warning mentioning some h-cost addresses
> >
> > Kate Bunting
> > Library, University of Derby
> > _______________________________________________
> > 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] Searching for pomanders
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OK, just how strong were the scents carried around in these things? I mean,
if it's supposed to cover up nasty smells and chase away disease, I would
imagine they had to be pretty pungent.

It's starting to remind me of the person who gets on the elevator and gasses
everyone out with their cologne. :-)


>    During the middle ages, both men and women wore them supposably the
>scent would chase away the plague or any other disease.  And of course,
>they were worn to cover up any other disagreeable smells.   Many times
>they were also on rosaries.  On the rosaries I have seen they look like
>large silver, pierced beads.  I may make one of these also.


**********************
Rebecca Schmitt
aka Agnes Cabot, wife of Master Peter Cabot
BRF FOF; Guilde of St. Lawrence

A room without books is like a body without a soul
---Cicero

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

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http://www.belleofthebay.com/jewelryphotogallery.htm

http://home.sprynet.com/~gipsyped/brooches.htm

I know there is another one out there, but can't find it...he does spoons
too.


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Date: Fri, 24 Oct 2003 17:23:05 -0600
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Hey, thanks for sharing...I was so bummed that I had to miss it.
How did the classes and lectures go?
--sue, stuck at home paying for car repairs ;o(

Robin Netherton wrote:
> 
> My photographer friend Don McClane has just posted his photos from this
> past weekend's Known World Costume Symposium in Denver. You'll find them
> here:
> 
> http://www.tancos.net/costume/kwcs03.html
> 
> These are only the participants in the Walk Through History (and I think
> even some of those people didn't stop by and get photographed, a shame).
> 
> Feel free to forward this to other people who may be interested.
> 
> --Robin
> 
> _______________________________________________
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Thank you, Saragrace.  The pomanders were some of the ones I have been 
seeking.

Roscelin

Saragrace T. Knauf wrote:

>http://www.belleofthebay.com/jewelryphotogallery.htm
>
>http://home.sprynet.com/~gipsyped/brooches.htm <http://home.sprynet.com/%7Egipsyped/brooches.htm>
>
>I know there is another one out there, but can't find it...he does spoons
>too.
>
>
>  
>



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On Fri, 24 Oct 2003, Sue Clemenger wrote:

> Hey, thanks for sharing...I was so bummed that I had to miss it. How
> did the classes and lectures go?

Would have loved to have seen you there, and I know you would have enjoyed
it. I think half the SCA costuming community was there. I have no idea of
the numbers, but it was clear the event had taken over the hotel.

I don't know how anyone else's classes went; I made it to half a class,
and otherwise spent the rest of the time teaching (four Saturday lectures
and a Sunday all-day workshop), changing clothes, shuffling slides, and
caffeinating myself ;-)  Never even made it into the hotel pool, which was
one of my goals for the weekend, but that was my only disappointment -- oh
yes, and the fact that I didn't make it to Tawny Sherrill's lectures (she
was the other guest speaker). But I had a great time.  I had good-sized
audiences who seemed to be having fun and who came up with interesting
discussion. I got to meet a few people from this list, and re-meet a few
others -- Marc and Jennifer Carlson, Teena Kessinger, oh why is my brain
shorting out on other names? I rode in from the airport on the same
shuttle as Amy Heilveil; funny how it was easy to spot the Other Costumer
at the bus stop. I know there were other people I knew, but I can't
remember who might be known on this list.

Other stuff: The Walk through History was brief but impressive; the photos
tell that part well. I opted out of feast because I knew I'd be too wiped
out from lecturing to enjoy having to dress up to eat, so I presume
someone else who wanted to be there had the pleasure. There was a masked
ball Saturday night, where there seemed to be sufficient music and dancing
to please those as could dance (including my photographer friend, who also
reports that the track of dance classes was extensive and fulfilling, as
that's where he spent all day). The merchants were very well-selected,
with yummy fabrics and books and trims and things, and seemed to be doing
good business. All this was going on in conjunction with another Known
World event for rapier fighters, so there was a lot of overlap, but I have
no idea what the rapier people were doing class-wise.

Someone else who is more in tune with things can report better than I can.
I was rather distracted ;-

--Robin

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I'd of course love to hear about any aspects of the event, but it was
actually *your* stuff I was wondering about (hit the reply button,
rather than your private addy! <g>)
Since I've been fortunate enough to take your workshop, and get the
Fitted Gown and Greenland lectures, I was particularly interested in how
your Victorian-Influence lecture went.  Some of the late-19th c.
pseudo-medieval stuff is just awful, but some of it's just
droolsome....*sigh*...(me and pre-Raphaelites ;o)
Plus, of course, I get to wondering about how our current (20th/21st c.)
tastes and values are affecting our views of such things.  I even have a
good time torturing myself pondering how particular micro-cultures
(Faires, or SCA, for example) can affect one's taste in historical
clothing.  I know it affected mine, and my learning curve as well, in
both useful and non-productive ways....
--sue, waxing verbose on a Friday night....

Robin Netherton wrote:
> 
> On Fri, 24 Oct 2003, Sue Clemenger wrote:
> 
> > Hey, thanks for sharing...I was so bummed that I had to miss it. How
> > did the classes and lectures go?
> 
> Would have loved to have seen you there, and I know you would have enjoyed
> it. I think half the SCA costuming community was there. I have no idea of
> the numbers, but it was clear the event had taken over the hotel.
> 
> I don't know how anyone else's classes went; I made it to half a class,
> and otherwise spent the rest of the time teaching (four Saturday lectures
> and a Sunday all-day workshop), changing clothes, shuffling slides, and
> caffeinating myself ;-)  Never even made it into the hotel pool, which was
> one of my goals for the weekend, but that was my only disappointment -- oh
> yes, and the fact that I didn't make it to Tawny Sherrill's lectures (she
> was the other guest speaker). But I had a great time.  I had good-sized
> audiences who seemed to be having fun and who came up with interesting
> discussion. I got to meet a few people from this list, and re-meet a few
> others -- Marc and Jennifer Carlson, Teena Kessinger, oh why is my brain
> shorting out on other names? I rode in from the airport on the same
> shuttle as Amy Heilveil; funny how it was easy to spot the Other Costumer
> at the bus stop. I know there were other people I knew, but I can't
> remember who might be known on this list.
> 
> Other stuff: The Walk through History was brief but impressive; the photos
> tell that part well. I opted out of feast because I knew I'd be too wiped
> out from lecturing to enjoy having to dress up to eat, so I presume
> someone else who wanted to be there had the pleasure. There was a masked
> ball Saturday night, where there seemed to be sufficient music and dancing
> to please those as could dance (including my photographer friend, who also
> reports that the track of dance classes was extensive and fulfilling, as
> that's where he spent all day). The merchants were very well-selected,
> with yummy fabrics and books and trims and things, and seemed to be doing
> good business. All this was going on in conjunction with another Known
> World event for rapier fighters, so there was a lot of overlap, but I have
> no idea what the rapier people were doing class-wise.
> 
> Someone else who is more in tune with things can report better than I can.
> I was rather distracted ;-
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Date: Fri, 24 Oct 2003 19:55:41 -0700
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At 1:28 PM -0700 10/24/03, Roscelin wrote:
>Thanks, Talia.  I'm going to check with my library and see if they 
>have a copy.  Thank goodness I finally learned about the ILL, it has 
>been a God send.
>
>Roscelin
>
>Talia wrote:
>
>>Victoria and Albert Museum's "European Jewellery" book has several pictured
>>as well, both open and closed.

Bring all your muscles when you go to take this book home -- it's 
large and very heavy. And utterly gorgeous. Its chapter on 
paternosters and rosaries has more information packed into it than 
I've seen in one place anywhere else (including several whole books 
on the subject). I keep kicking myself because I should have bought 
it when it was in print for $200 or thereabouts -- it went out of 
print several years ago and the price promptly shot up to the $500 
range. The author is Donald Lightbown.

==================================================

Now that I'm at home where my books are:

Another book you'll want to look for is this one, which has more than 
a dozen good pictures (in black and white, alas) of the sort of 
scent-holding pendants, reliquaries, and pomanders that people hung 
from their belts, etc:
    _Jewels in Spain, 1500-1800_ by Priscilla E. Muller; 1972, The 
Hispanic Society of America

There are some similar things also in:
_ Five centuries of Jewelry _ by Leonor d'Orey,  Institut Portuguèse 
de Museus, Zwemmer, 1995. ISBN 0-502-00660-5

I'm not sure how many of these little objects are pomanders exactly 
-- i.e. pierced metal containers that held solid perfume substances 
-- but there is a wide range of similar pendant-thingies out there 
that seem to share the same general sorts of design, motifs, et 
cetera. IIRC, there's at least one book-shaped pendant in one of 
these books that the authors say has a pierced compartment that could 
either be a place to store a relic where it could be seen through the 
piercings, or a place to put scent which would diffuse out.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Date: Fri, 24 Oct 2003 19:56:24 -0700
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Re: burnet
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At 11:36 AM -0500 10/24/03, Robin Netherton wrote:
>I have no idea about burnet. The people to ask would be Susan
>Carroll-Clark and Tom Izbicki, both of whom have done work in clothing
>restrictions for clerical people, and I bet it was one or the other that
>was being quoted in Chris Laning's repost from the medieval religion list.

Yes, it was Tom Izbicki.

For those who asked, the medieval religion mailing list I was 
referring to is this one:

http://www.jiscmail.ac.uk/lists/medieval-religion.html

There are a fair number of literature-research types on it, so it 
occasionally gets off on tangents that don't interest me much, but 
there are also some very interesting discussions and a very wide 
range of helpful people. One of the list members also does a "saints 
of the day" feature which is often quite entertaining. A recent 
sample with some actual vaguely h-costume relevance:

>Today (12. October) is the feast day of:
>
>Herlinda and Relinda (d. c. 745 and 750)  H. and R. were daughters of an
>Austrasian noble family.  Their dad founded a convent for them at Maaseik,
>Belgium; they served as first and second abbesses of the community.  They
>were active supporters of the mission to the Frisians, friends of both
>Willibrord and Boniface.

(One of the earliest surviving pieces of European silk-and-gold 
embroidery is the so-called "chasuble of Sts. Harlindis and 
Relindis", these same two ladies. It does seem to be contemporary 
with them, but they probably didn't embroider it themselves, since it 
seems to have been imported from England. In its present form, the 
main embroidery is pieced together from fragments that may have 
originally come from altar or church furnishings -- the two long 
strips of embroidered architectural arcades especially suggest this.)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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> I even have a
> good time torturing myself pondering how particular micro-cultures
> (Faires, or SCA, for example) can affect one's taste in historical
> clothing.

I went to a pretty big SCA event last weekend (well, 200 - 250 people is a
big event around here). We had royalty (our Kingdom's King, and royalty from
neighboring kingdom), which means most people took out their nicest clothes.

Well. Let's just say I'm afraid of making the Queen jealous of my dresses,
once I get them finished. There was not a lot of eye candy (clothing, I
mean - there were some nice guys present, don't worry). I used to think
there was plenty.

Which leads me to think: h-cost and margospatterns lists (and SCA-Garb list,
a few months ago, but it was too high traffic and I had to unsubscribe)
influence my tastes in clothing MUCH more than actual micro-societies in
which I participate physically.
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	<002a01c39a78$d7dddba0$29aab944@mad.chartermi.net>
Subject: Re: [h-cost] Searching for pomanders
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Rebecca wrote:

> OK, just how strong were the scents carried around in these things? I
mean,
> if it's supposed to cover up nasty smells and chase away disease, I would
> imagine they had to be pretty pungent.
>
> It's starting to remind me of the person who gets on the elevator and
gasses
> everyone out with their cologne. :-)

Take a look at this link:
http://www.florilegium.org/files/PERSONAL/perfumes-msg.html

It's an archive of messages which reference several books containing recipes
for pomander fillings, and a few recipes in-line.

               -Helen/Aidan


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] lace tools in 16th. century.
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Hello.
Here is answer i got from my lace group. Vibeke surely dont mind i quote her
to you:

Bjarne



While you find 17th century lacepillows on paintings you have to go to
engravings
to find the few 16th century examples.

Lacemaking as we know it was getting established at that time. The
lacepillows
are of very different forms, suggesting that the tools used for different
older types of plaiting were still used.

Tamara told about the two lacemakers to be found on the cover of:

Tornehave, Bodil: Danske Frihåndskniplinger. Notabene,
Copenhagen 1987. ISBN 87-7490-291-1.

"Nüw Modelbuch" was published in 1561 and you can find the whole facsimile
in:

Burkhard, Claire: Faszinierendes Klöppeln "Nüw Modelbuch" 1561.
Paul Haupt, Bern 1986. ISBN 3-258-03610-1

Some of the forerunners of lacepillows can be seen in Mrs. Palliser on page
91 Fig. 43 and page 110 Fig. 50.

If you look at M. Dreger's Entwicklungs-Geschichte der Spitze (on the
Professor's
site), you can see another strange lacepillow on Abb. 21, it should be from
about 1587.

There is a much more normal lacepillow in a Flemish book by Martine
Bruggeman.
Tamara will you share the photo you recently took of the engraving by Jan
Saenredam after Hendrik Goltzius? It should be from the 3rd quarter of the
16th century.

These are the examples I have, has anybody any more?

Stretching the 16th century a few years, there is actually an example I
have found.

Take a look at page 22 of the OIDFA Bulletin 1993/4. In 1603 Alessandro
Allori painted an Annunciation, where the Virgin Mary had put her lacepillow
aside. Her bobbins were the 'flute' bobbins of the low-warp loom. The
lacepillow
is a bolster type in a basket.

Greetings

Vibeke in cold and dark Copenhagen


-



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Date: Sat, 25 Oct 2003 06:11:09 -0700 (PDT)
From: Mara Riley <corbiegirl@yahoo.com>
To: Revlist <Revlist@yahoogroups.com>, revwarcostume@yahoogroups.com,
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Subject: [h-cost] For sale -- industrial Singer sewing machine
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In the interest of clearing out space in my basement, I'm selling an
industrial Singer sewing machine, model 241-2, Serial #AH508688.  I
believe it's in working condition, but needs a motor.  It has a
table, and is too large to ship via UPS, so if you want it, you'll
need to pick it up.  I'm located in Waldorf, Maryland.

We were going to fit it with a Sailrite motor that had variable
speeds, because the old motor had two speeds, stop and go.  We bought
it when I thought I'd be making sails for boats.  We wound up selling
the boat when we moved, because we had no space for storing it, so --
no need for sails.

Price: $150

Mara Riley


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Status: RO

There is a lovely one at pewter replicas as well.
http://www.pewterreplicas.co.uk/pomander%20and%20scent%20bottle.html
----- Original Message ----- 
From: "Roscelin" <roscelin@pcez.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 24, 2003 7:59 PM
Subject: Re: [h-cost] Searching for pomanders


> Thank you, Saragrace.  The pomanders were some of the ones I have been
> seeking.
>
> Roscelin
>
> Saragrace T. Knauf wrote:
>
> >http://www.belleofthebay.com/jewelryphotogallery.htm
> >
> >http://home.sprynet.com/~gipsyped/brooches.htm
<http://home.sprynet.com/%7Egipsyped/brooches.htm>
> >
> >I know there is another one out there, but can't find it...he does spoons
> >too.
> >
> >
> >
> >
>
>
>
> _______________________________________________
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>

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Subject: Re: [h-cost] KWCS photos
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The Victorian influence lecture was fascinating. I knew about the influence
of the Victorians on the modern perceptions of what is medieval, but Robin
showed the evolution from period images to, in some cases, ridiculous
interpretations. You could see how one person made a mistake copying an
original and watch that mistake get carried over as others copied that image
and made their own mistakes etc. It was like playing a visual game of
operator. I think she said her original lecture was longer and she had to
cut out some slides. I wish we had been able to see the whole thing.

Teena

----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, October 24, 2003 10:34 PM
Subject: Re: [h-cost] KWCS photos


> I'd of course love to hear about any aspects of the event, but it was
> actually *your* stuff I was wondering about (hit the reply button,
> rather than your private addy! <g>)
> Since I've been fortunate enough to take your workshop, and get the
> Fitted Gown and Greenland lectures, I was particularly interested in how
> your Victorian-Influence lecture went.  Some of the late-19th c.
> pseudo-medieval stuff is just awful, but some of it's just
> droolsome....*sigh*...(me and pre-Raphaelites ;o)
> Plus, of course, I get to wondering about how our current (20th/21st c.)
> tastes and values are affecting our views of such things.  I even have a
> good time torturing myself pondering how particular micro-cultures
> (Faires, or SCA, for example) can affect one's taste in historical
> clothing.  I know it affected mine, and my learning curve as well, in
> both useful and non-productive ways....
> --sue, waxing verbose on a Friday night....
>

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> Bring all your muscles when you go to take this book home -- it's
> large and very heavy. And utterly gorgeous. Its chapter on
> paternosters and rosaries has more information packed into it than
> I've seen in one place anywhere else (including several whole books on
> the subject). I keep kicking myself because I should have bought it
> when it was in print for $200 or thereabouts -- it went out of print
> several years ago and the price promptly shot up to the $500 range.
> The author is Donald Lightbown.

Do you mean Ronald W. Lightbown's _Medieaeval European Jewellery_?

It certainly is a great book! I know plenty of people who would love 
to get a copy, but I know many people who are searching for it and 
can't find it for any price.

Kat
<kat@redtrollforge.com>


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> Chris:  And I believe there was a pomander "cage" in the Cheapside
> Hoard. (I don't remember which British museum that's in, though.)

Cheapside Hoard is in the MOL. However, it is 17th C and she is 
looking for pre-17th C pomanders.

Good thing I have most of the books that you'all have mentioned. When 
she comes over on Tuesday she can take a look at them!

Kat
<kat@redtrollforge.com>


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> The Victorian influence lecture was fascinating. I knew about the
influence
> of the Victorians on the modern perceptions of what is medieval, but Robin
> showed the evolution from period images to, in some cases, ridiculous
> interpretations. You could see how one person made a mistake copying an
> original and watch that mistake get carried over as others copied that
image
> and made their own mistakes etc. It was like playing a visual game of
> operator. I think she said her original lecture was longer and she had to
> cut out some slides. I wish we had been able to see the whole thing.
>
> Teena

Hmm, I'd LOVE to see something like that online, so I could finally send
people to real research when I'm trying to get exactly the same point
across... I don't know how many times I tried to explain this, only to end
up sounding very NOT convincing to my own ears :-)

This is one of the parts of costume history that fascinates me, even if it
is extremely frustrating.
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Teena wrote:

> > The Victorian influence lecture was fascinating. I knew about the
> > influence of the Victorians on the modern perceptions of what is
> > medieval, but Robin showed the evolution from period images to, in
> > some cases, ridiculous interpretations. You could see how one person
> > made a mistake copying an original and watch that mistake get carried
> > over as others copied that image and made their own mistakes etc. It
> > was like playing a visual game of operator. I think she said her
> > original lecture was longer and she had to cut out some slides. I wish
> > we had been able to see the whole thing.

;-) Better get me to Atlanta, then!

The Victorians lecture is now one of my regulars. I'm giving it, hmm,
let's see, as part of my Boston series on Nov. 8, for those of you who are
already signed up to that. Teena, the longer version has a few more
examples of each of the different types of sources I covered, and an extra
section on the end about Aesthetic dress and its use of "medieval"
elements based on Pre-Raphaelite fantasy interpretation.

Audrey wrote:

> Hmm, I'd LOVE to see something like that online, so I could finally
> send people to real research when I'm trying to get exactly the same
> point across... I don't know how many times I tried to explain this,
> only to end up sounding very NOT convincing to my own ears :-)

I have not been eager to put my lectures online, for several reasons. One
is copyright issues on the images; some are copyright free, but not all of
them are. Another is mechanics (I haven't learned web design yet, and all
my images are on slides). But the biggest reason is that I don't think I
could offer more than a taste of what I can give in an hour or two in the
classroom, where I can respond to the audience's level of knowledge and
specific interests. I think if I tried to put up examples of some of the
things I cover, without being able to fill in enough context (which would
not be practical) people would come away with a partial and oversimplified
understanding. And I think that can create more damage in the long run --
that's really what's happened over the years with costume scholarship,
after all!

I did put together a resource list for the Victorian-influence lecture,
though. I'd be happy to email it to you or anyone else who wants it, or I
can post it here if there's a lot of interest.

Over the years, I've become increasingly interested in the historiography
of costume study, as a byproduct of trying to document various items of
conventional wisdom about medieval dress -- the pointy princess-hat, the
handkerchief-hemmed overdress, the use of sideless surcotes or heraldic
gowns frame-structured wheel farthingales. I've found more and more
examples of truisms canonized in the costume literature that seem to have
no clear basis in evidence from the period. So I end up trying to figure
out where the assumptions came from, and what went wrong along the way. My
usual m.o. is to track sources backward to see where various concepts
originated -- sometimes in the 18th century, sometimes in the 19th, in
some particular book that had a lot of influence and whose statements were
requoted. And sometimes the original statements weren't so bad, but they
were taken out of context or misstated in later works. I gave some of
those examples in the lecture, in the "game of telephone" following the
interpretation of a specific source image over a couple of centuries of
"scholarship."

In doing this, I've learned a lot about the personalities behind various
costume books, and their motivations, and their approaches to research
(which often aren't what we expect), all of which affected their work ...
and indirectly affected our understanding of medieval dress. The more I
look at this area, the more I learn. I never did get my doctorate, but if
I go back to school to do it, this is the dissertation I will do -- to
nail down a "family tree" of who copied what from whom in the last 200
years, and how the different lines of influences show up in modern
sources.

And this is why I collect awful costume books! Sometimes I can open up
some book I hadn't seen before, and I recognize some weird line or detail
in a redrawing, and I can tell whom the artist copied from. Teena will
remember that I used one of those examples in the talk, something I just
came across a couple of months ago. I was going through a box of my
childhood books from my parents' basement and found a picture-book of
Grimm's Fairy Tales from the 1950s. The costumes were a pastiche of
secondary-source standards drawn in a 1950s aesthetic. And I spotted a
really weird hat, which I recognized as a misreading of a particular 19th
century redrawing, which itself was a misinterpretation of a 15th century
allegorical image. Whoa! And to think I was reading that book and
absorbing those images when I was five or six years old. Guess I somehow
survived intact. But these images can be really pervasive, and we absorb
them early on.

--Robin


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Subject: [h-cost] Half-globe cauls, a search
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Hi Folks,

Robin's recent post reminded me that I've got a costume item I'm trying 
to track down to a real medieval source.

Half-globe cauls, as seen on Princess Isabella (1292-1358) in Braveheart 
<http://members.tripod.com/~TroubleCat/Braveheart/bh17.jpg>, and in 
several places in Norris.

Norris cites sources for them from 1333-1350, and generally for the 
times of Edward II (1307-1327) and III (1327-1377, his dates).

I've checked on the web for Norris' originals, but no luck there, nor on 
the the SCA-Milliner's list.  I've looked in many of my more reliable 
costume books, such as Fashion in the Age of the Black Prince (years 
1340-1365), but no mention of them that I have seen.

There's images of women with the vertical braids, and women with round 
bun-like hair projections with braids around them, but no 
clearly-constructed caul or netted shapes.  I'm wondering if they are a 
myth.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From h-costume-bounces@indra.com  Sat Oct 25 16:36:54 2003
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Subject: Re: [h-cost] Victorian influence on sources, was: KWCS photos
Date: Sat, 25 Oct 2003 21:39:26 +0100
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>I did put together a resource list for the Victorian-influence lecture,
though. I'd be happy to email it to you or anyone else who wants it, or I
can post it here if there's a lot of interest.

 I'd be really interested Robin, I've wished I'd taken notes (well if I
could) since Chicago, as some of the examples were really good but I can't
remember the linage too well now :)

Wish you would do that doctrate ;)

Mel

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From h-costume-bounces@indra.com  Sat Oct 25 17:56:36 2003
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From: Kimiko Small <kimiko@kimiko1.com>
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Hi all

I was wondering if anyone might be able to help me. I am trying to figure 
out what silk shantung is like, as compared to dupionni silk. I know both 
are slubbed silks, but is shantung as thin and crisp as dupionni? Does it 
have a good drape? Is it as shiny?

My project actually requires it to not be shiny, have a good drape, be firm 
and fairly easy to sew onto (as I will be appliqueing things onto the 
fabric), and have a good weight and not be too crisp. I am not sure why 
kind of silk would do just that.

Thanks for any advice or suggestions.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] shantung silk
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On Sat, 25 Oct 2003, Kimiko Small wrote:

> I was wondering if anyone might be able to help me. I am trying to
> figure out what silk shantung is like, as compared to dupionni silk. I
> know both are slubbed silks, but is shantung as thin and crisp as
> dupionni? Does it have a good drape? Is it as shiny?

Shantung is subtly ribbed, and often is not very slubby -- definitely not
like dupioni. The shantung I've worked with has a dull shine, is soft
rather than crisp, and drapes well. It's a cousin to bengaline.

> My project actually requires it to not be shiny, have a good drape, be
> firm and fairly easy to sew onto (as I will be appliqueing things onto
> the fabric), and have a good weight and not be too crisp. I am not
> sure why kind of silk would do just that.

A shantung would be a good choice. It does vary in weight, but even the
lightest weight shantung I've seen is heavier than "China silk."

I've been seeing some nice ones over at Fashion Fabrics. Try this search
and you'll get a good range:

http://www.fashionfabricsclub.com/home/catalog_items.cfm?Query=shantung+100%25+silk

Prices as low as $6/yard. There are several varieties, and you can see
from the swatch close-ups that they vary in slubbiness, size of ribbing,
etc. The description will give you a hint of weight.

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Half-globe cauls, a search
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Cynthia is looking for:

> Half-globe cauls, as seen on Princess Isabella (1292-1358) in
> Braveheart
> <http://members.tripod.com/~TroubleCat/Braveheart/bh17.jpg>, and in
> several places in Norris. ... I've looked in many of my more reliable
> costume books, such as Fashion in the Age of the Black Prince (years
> 1340-1365), but no mention of them that I have seen.
> 
> There's images of women with the vertical braids, and women with round
> bun-like hair projections with braids around them, but no
> clearly-constructed caul or netted shapes.  I'm wondering if they are
> a myth.

Good question, since I've been wearing a pair to go with my fitted dress
for lectures. (And I try to remember to tell people that everything from
neck up is stage costume only -- to complete the look for visual purposes.
I'm strictly a body garments girl, not a headdress researcher.)

I know when I made mine, I copied from some images. A very cursory glance
through a few books shows quite a number of pix (mostly brasses and
effigies, though I also recall illuminations) that show visible network
over buns at the temples -- sometimes bun-shaped (half-round) and
sometimes larger cylinders or other variations. Margaret Scott's "Visual
History of Costume: The 14th and 15th centuries" has a number of these. To
my chagrin, though, the views she has of the small half-round temple buns
show that these are most likely not pairs of small bun-covers, but larger
nets that go over the whole head, covering the hair buns in the process.

When I put my hair up in buns at the temple, I actually braid the hair
first, and then wrap it into bun shapes. But I do like the fact that my
half-globe cauls force the buns into matching lumps, as I often have
trouble getting my two buns to look like they belong on the same head. Of
course, if I had a servant to dress my hair, this would be a lot easier
(and faster!).

A full-head net over buns would solve some other problems for me, though,
including the tendency of wisps of my back hair to escape.

I seem to recall a written reference in the memoirs of Margery Kempe to a
headdress of gold wires or "pipes," but I read it in translation.

--Robin


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Robin,

I think the mis-interpretations have happened all across earlier time
periods for costume.  Here and there, I have been researching Egyptian
costume history and see some of these same type of repeated and spun off
variations.

A few years ago when I took the master's level Egyptian art class and got to
see an exhibit that had a good bit of models of the working class from
Ancient Egypt.  They looked a lot different than what you see in books or on
the History channel. It was a wonderful exhibit!  WOW!  A beautiful pectoral
necklace was in the exhibit.
 Egypt and the History channel are a good joke to me.

I have often wanted to make a website on Egyptian costumes but also have run
into the same copyright issue that Robin mentioned.  I hope one day to go to
Egypt and talk with the curators to obtain permission... I want to stay a
few months to do intense research.  So I will have to wait until my youngest
child leaves home.

My husband has also been to the seminary where St. Catherine is located and
it has wonderful religious icons.  I would love to show these on a website.
The artwork is wonderful that is shown in the tourist book my husband has.

I think I need a few more lifetimes to do all the research that I want to
do.

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


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Robin Netherton wrote:
> (And I try to remember to tell people that everything from
> neck up is stage costume only -- to complete the look for visual purposes.

Yeah, sigh.  Until we happen upon some graves with preserved 
headdresses, the archeological evidence for much before 1500 is close to 
Zilch, Zip and Zero.  So we have textual evidence, and the good ol' 
"conjecture based on pictures, or if you're lucky, statues."  Which is 
hardly authoritative, although the look can be achieved.

> brasses and effigies, though I also recall illuminations) that show visible network
> over buns at the temples -- sometimes bun-shaped (half-round) and
> sometimes larger cylinders or other variations.

Aha -- will start looking at the funerary stuff.  I think I may have a 
book in the depths of the book-storage-room.  The cylinder style I also 
like, but have found very little evidence as well.  Some of you may have 
seen the webpage I made, where I tracked down Norris' alleged source, 
and it looks only about 50% like what he drew.

His source is Queen Phillipa's effigy; she married Isabella's son Edward 
III, so the cylinder style is a generation later.  Maybe!  (Oh, note: my 
first email was Reigning years for the Eds, and birth-death for Isabella.)

The hats covered in pearls that are described in translation in 
Fashion/Black Prince are like nothing I've ever seen pictured.  Even the 
author isn't sure what they looked like.

> show that these are most likely not pairs of small bun-covers, but larger
> nets that go over the whole head, covering the hair buns in the process.

Yeah -- although the pictures in Norris at least (Will have to keep 
trying to find the Scott book) look like the hair constructions at the 
side of the head with the full net over them, are not right out to the 
side, but more toward the back and lower.  Not earmuffs.

I should note that I haven't yet seen any ram's horn dressed hair 
either, although this isn't my concentration.  (Wind hair with thin 
white silk fabric so it's like a rope.  Coil it up like a braided rug 
over ears.)

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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On Sat, 25 Oct 2003, Penny Ladnier wrote:

> I think the mis-interpretations have happened all across earlier time
> periods for costume.  Here and there, I have been researching Egyptian
> costume history and see some of these same type of repeated and spun
> off variations.

I agree that most of the earlier periods have suffered in costume
scholarship; my area is medieval, so that's where I've focused. I could
easily look at a modern source, or even a Victorian source, on Egyptian
costume and have no clue how well or badly it represents actual sources
from that period. Fortunately I know something about medieval clothing ...
and as I learned to recognize the disparity between what I saw in medieval
sources and what I saw in costume books, I became interested in learning
why the scholarship had become so badly off-kilter.

However, I think medieval costume history has suffered disproportionately
compared to other periods because of the confluence of several unfortunate
trends.

To begin with, medieval costume had an abundance of attention from
19th-century scholars and pseudo-scholars because of the simultaneous love
affair the Victorians had with the "age of chivalry." (A book I recommend
here -- which I think should be required reading for all medieval
re-enactors -- is Marc Girourard's "The Return to Camelot: Chivalry and
the English Gentleman.") The Victorians had a similar but briefer interest
in certain other cultures and periods; Japanese and ancient Greek spring
to mind (and possibly the Egyptians, but I haven't heard as much about
that), and those fads tended to spawn popular reference books and art
books focusing on those periods. But the interest in medieval was, I
think, longer-lived and more intense than that of any other culture, and
created an extensive market for books about medieval styles, motifs,
artifacts, etc. over most of a century ... allowing plenty of time for
initial errors to be repeated and magnified. It's that chain of errors
that poisoned the legacy of scholarship that was brought into the 20th
century. Less popular periods suffered too, but in this case the less
attention the Victorians gave to a period, the better off it ended up,
even if that meant there was very little work done on them in the 19th
century.

The other reason that medieval costume scholarship has a unique problem
has to do with the nature of 20th century costume research. Most modern
costume scholars, up until the last few decades, have favored later
periods. That makes sense when you consider where the sources are: For
16th century and beyond, we have a sizable number of documents, fashion
publications, extant garments, and much, much more available for study.
Most trained fashion historians have tended to focus on these later
periods; with just a few exceptions, specialization in medieval clothing
continued to be the province of amateurs (in the British sense of the
word) -- people working outside the academic mainstream.

Complicating this further is the fact that costume history itself has not
really been a recognized academic field. The Victorians also left huge
footprints on such disciplines as literature and art history and economic
history and social/political history, but these disciplines are
well-represented in the college and university community, with departments
devoted to their study, journals for publishing new findings, conferences
for networking and sharing ideas, and legions of graduate students and
professors doing substantive work. So over the course of the 20th century,
these disciplines have managed to "shake out" most of the Victorian
influence and replace it with more solid scholarship using the historical
approaches and standards of the 20th century. That didn't happen nearly so
much in the area of costume study, where formal academic work was limited
to only a few European programs and some scattered scholars working mostly
in the bounds of other fields, not within a recognized field of "costume
history," and without an easy means of networking and communication. So
costume history is only now experiencing the "shake-out" of Victorian
scholarly influence -- and the shake-out has disproportionately favored
post-medieval periods, where sources are better and more work has been
done, as well as (to a lesser extent) some pre-medieval periods and
non-European cultures, where the Victorians meddled less to start with.

We've talked on this list before about how bad many of today's costume
history textbooks are when it comes to the medieval period. What we're
seeing is the result of the combination of the above trends: A publisher
will hire a fashion historian to write a textbook for "survey of Western
costume" classes. The fashion historian will most likely be a specialist
in 17th or 18th or 19th century clothing. So when that author has to write
the chapters on earlier periods, he or she will go to the published
literature ... and not realize that the reliability of the available books
on "medieval costume" is quite a few steps down from the sources on later
or even many earlier periods. So these authors use these books in good
faith, and the errors are reproduced without question.

In the same way, scholars from more mainstream disciplines -- literature,
art history, archaeology, etc. -- who need to find out some piece of
information on medieval costume (for purposes of translating a poem or
interpreting a picture or something) will go to the books on the library
shelf, again not realizing that (a) costume history is not as far along as
a discipline as their own field, and (b) medieval costume history is not
as far along as later periods, and (c) medieval costume history suffered
particularly extensively at the hands of the chivalry-crazy Victorians.
They take what's in these modern-looking textbooks in good faith, and so
the same stupidities get repeated in papers published in other fields, and
also in popular books about, say "Life in the Middle Ages." And those are
the people I deal with routinely in the academic world, where I spend a
lot of time explaining that, say, those women with the big bellies aren't
all pregnant, or whatever.

And I can't tell you often I've run into scholars from other medieval
fields who are stunned to find out how little we really know about some
areas of medieval costume. Their own fields are so saturated with work
that it's hard to find a new research question, and so they've assumed
that everything that could be said about medieval dress was said ages ago
... they don't see it as an evolving field, but rather as something where
all the known information must have been collected and cataloged ages ago,
and there's nothing more to say.

A few years ago I was approached by a woman doing her dissertation on
clothing references in 12th century French romance. As part of her work,
she knew she needed to find out something about what these garments were
and how they were worn and what they were made of, so she could then go on
to interpret the strongly rhetorical use of such terms as "bliaut" and
"chainse." She had read the standard references, which lay out everything
oh-so-neatly. But something was nagging at her, and she couldn't quite put
her finger on it. So she had lunch with me. (I began by explaining "the
bliaut problem.") She walked away two hours later with her head reeling at
the thought that we don't actually KNOW what many of those terms refer to,
and that people today are doing original work and coming up with new
theories about them. She swiftly found that thanks to that one lunchtime,
her knowledge of 12th century dress surpassed everything her advisors knew
on that topic. And she was able to address her dissertation with a much
more historically mature grounding in costume than most people who are
getting their information strictly in the literature community and off the
GT or 391 shelf at the library. Years later, she thanked me for that first
lunch, saying, "You `problematized' costume for me. I'd had no idea how
much there was still to learn."

Hmm, I'm rambling now. But you can see from the above why I think this
would be a good avenue for a dissertation, or a book. I don't think
anyone's really looked at the *interaction* of the multiple trends
affecting medieval costume scholarship, as opposed to other periods of
costume scholarship that have suffered to varying degrees from Victorian
mangling, paucity of evidence, and the fringe position of costume
scholarship in the academic arena.

--Robin
(oh, if only articles were as easy to write as e-mails)

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Robin Netherton wrote:
> To begin with, medieval costume had an abundance of attention from
> 19th-century scholars and pseudo-scholars because of the simultaneous love
> affair the Victorians had with the "age of chivalry."

Do you think that the Victorians of the time thought they were doing a 
rigorous job at it?

I often wonder if 100 years from now, people will look at the earnest 
attempts of current costume historians and have a similar reaction as 
our reaction toward the Victorians.

> Complicating this further is the fact that costume history itself has not
> really been a recognized academic field.

Of course not!  Sewing is for housewives!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] Half-globe cauls, a search
Date: Sat, 25 Oct 2003 22:27:00 -0400
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The picture of Isabel Bouchier at http://www.brass-rubbing.com/#brass looks
like the half-globe cauls, but the image is too small to tell for sure.

Janet Davis

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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Subject: Re: [h-cost] RE: Resources
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Cynthia, I believe the same thing will happen 100 years from now.  Each
generation has its own interpretation.  I remember seeing photos in the
Valentine Museum restoration of their historic house's interior during three
different decades in the 20th Century.  The house was Aaron Burr's lawyer's
house called the Wickham House.   The 1960s restoration of colonial was so
funny!!!!!  The point is, that each generation thought the interpretation
was period correct.

History is an art... people look at it, study, and give their impression of
what happened, by what is left to research.  That's why the history dept. in
universities fall under the School of Arts.  Think of 10 people videotaping
a car wreck they have seen.  Each person may have been in a different
location on the scene, edit the film at different places on the tape, and
make comments.  Each person saw the accident differently and account it
differently.

As most historians say, 90% of Egypt's artifacts are still under the sand.
When  90% of a civilizations history is missing, who know what will turn up
in the next 100 years.  And history will be re-written again.  Just like
part of their history was re-written on the discovery of Tut's tomb.

I am working in the 1920s tonight... running across things in original
publications that I have not seen published in modern costume history books
about 1920s.  Now go to google and type in 1920s fashion and see how many
webpages account the fashion of this decade as Flappers.  Sorry, not every
woman was a flapper in the 1920s.  So if the majority of people can not get
this correct from less than 100 years ago, it would be hard to expect it
from centuries ago.

I am sure Robin and Drea are constantly finding all kinds of new information
about their time periods.

Personally, I try to stay away from the Victorians viewpoint of past
history.  I did re-publish an article from 1902 about the History of Ruffs
BUT it was strongly recommended to the reader that this was the way people
thought in 1902.  Then we added a current day editorial, not written by me.
The article was originally written because ruffs came into fashion again
between 1900-1902.  We also provide several images examples of 1500s and
1900s ruffs.

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


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Subject: Re: [h-cost] Half-globe cauls, a search
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Janet Davis wrote:
> The picture of Isabel Bouchier at http://www.brass-rubbing.com/#brass looks
> like the half-globe cauls, but the image is too small to tell for sure.

I think that's the more boxy style that happened in the 15th century; 
different critter.  But a keen site, thank you!


-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: [h-cost] Red Cross and Fashion
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As I said earlier, I am always learning something new... well I did tonight
and I thought I would share with you all.

I have been working on adding new articles to our online library's A Year in
Fashion: 1920, www.costumegallery.com/1920/ .  The articles are from an Aug.
1920 issue of Elite Fashions Magazine. Many, many color plates, when I get
time to work on them.  Besides the plates, it contains some nice articles.
While going over the articles again tonight, I discovered that several were
submitted to the magazine by the American Red Cross.

I guess, I haven't thought about the Red Cross and clothing, except in case
of someone's house catching on fire. But in the 1920s, they did a good deal
of work with clothing people in needy areas of the world.  The article about
the Russian Chairs will just
about make you cry.  I am new to Elite Fashions Magazine in my research but
judging from the fashion plates in the magazine, it was geared toward upper
middle class American women.  Including the Red Cross articles in the
magazine might be a way of trying to get these sector of people to donate,
although donating money was not mentioned in the articles.  In the list of
our new articles below, I have placed (ARC) beside the article titles that
were American Red Cross reports.

New Articles today for A Year in Fashion: 1920:
***After Summer Fashions
***Amateur Dressmaker Articles:
---Trousseau Innovations
---Corsets and Figures
***American Girl Creates New Embroidery Fad (ARC)
***Beyond Russian Comprehension: Men Shaving (ARC)
***For Neptune's Daughter: Ladies' Bathing Suits
***Frocks (Dresses) Aglow with Color
***Hand Fans of Fashion
***Red Cross Costume: The Mode in the Balkans (ARC)
***Russian Chairs Yield Clothing (ARC)
***Summer Fashion Report
***Where Men's Hats are Made to Order (ARC)

Has anyone else ever noticed the American Red Cross submitting fashion
articles or reports in fashion magazines?  Does anyone else have a copy of
this magazine and see these reports or articles in it?  My entire family
enjoyed reading these ARC articles... except the one with the Russian chair.

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


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>Do you think that the Victorians of the time thought they were doing a
rigorous job at it?

I do, I read a lot of primary source material for the Victorian period as I
role play it and their conclusions tend to be logical and well thoughtout
within their cultural framework.

We still have a culture to influence us and this will be bound to influence
us to, the theory is being aware of it we try and compensate for it. The
down side though is seen in other areas where people of today find it hard
to solve a problem of a hands on nature, because their culture does not do
hands on in the same way.

Most areas of that are less costume related (or at least the one that spring
to mind). Ah here is one last week I was in Portugal, I was talking sheep
with a farmer there and others farming, but we will stick to wool. These
days with declining use of natural fibres, the Merino wool is so worthless
that farmers no longer breed for type or even unpigmented. We were saying
how quickly the qualities are being lost and in 20 years 100s of years of
textile development will be gone. The concept of the differing wool types
for specific  uses is hard for many people to grasp now, but when it no
longer exists at all how much worse will this be ?

>I often wonder if 100 years from now, people will look at the earnest
attempts of current costume historians and have a similar reaction as
our reaction toward the Victorians.#

Almost certainly I watched a program on the Zulu wars, our current culture
knocks the people who took part, calls them cowards, blunderers and so on,
this is a cultural perception of a largly anti war society. Where PC runs
riot. There is not right to any interpretation, because there isn't a single
truth, even at the time. So as culture swings our work will inevitabiliy be
critisised :)

Mel#



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On this site there is a picture of Jacoba van Beieren
http://members1.chello.nl/~r.olijve1/middeleeuwen.htm


Cynthia Virtue wrote:

> Hi Folks,
>
> Robin's recent post reminded me that I've got a costume item I'm 
> trying to track down to a real medieval source.
>
> Half-globe cauls, as seen on Princess Isabella (1292-1358) in 
> Braveheart 
> <http://members.tripod.com/~TroubleCat/Braveheart/bh17.jpg>, and in 
> several places in Norris.
>
> Norris cites sources for them from 1333-1350, and generally for the 
> times of Edward II (1307-1327) and III (1327-1377, his dates).
>
> I've checked on the web for Norris' originals, but no luck there, nor 
> on the the SCA-Milliner's list.  I've looked in many of my more 
> reliable costume books, such as Fashion in the Age of the Black Prince 
> (years 1340-1365), but no mention of them that I have seen.
>
> There's images of women with the vertical braids, and women with round 
> bun-like hair projections with braids around them, but no 
> clearly-constructed caul or netted shapes.  I'm wondering if they are 
> a myth.
>



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Deredere Galbraith wrote:
> On this site there is a picture of Jacoba van Beieren
> http://members1.chello.nl/~r.olijve1/middeleeuwen.htm

It's an interesting picture, but, like the brass 100 years later than 
I'm looking for them.  I tried a websearch to see if there was a larger 
version of the picture, since that later time is a favorite of mine, but 
didn't turn up anything yet.  It looks like there's a lot of good detail 
in that one.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Dang, all I got was the main page, no picture, and I don't comprehend
the language (Dutch?)at all...
--sue, who hasn't yet had enough coffee to be bilingual, and then it'd
be French or Latin....

Deredere Galbraith wrote:
> 
> On this site there is a picture of Jacoba van Beieren
> http://members1.chello.nl/~r.olijve1/middeleeuwen.htm
> 
> Cynthia Virtue wrote:
> 
> > Hi Folks,
> >
> > Robin's recent post reminded me that I've got a costume item I'm
> > trying to track down to a real medieval source.
> >
> > Half-globe cauls, as seen on Princess Isabella (1292-1358) in
> > Braveheart
> > <http://members.tripod.com/~TroubleCat/Braveheart/bh17.jpg>, and in
> > several places in Norris.
> >
> > Norris cites sources for them from 1333-1350, and generally for the
> > times of Edward II (1307-1327) and III (1327-1377, his dates).
> >
> > I've checked on the web for Norris' originals, but no luck there, nor
> > on the the SCA-Milliner's list.  I've looked in many of my more
> > reliable costume books, such as Fashion in the Age of the Black Prince
> > (years 1340-1365), but no mention of them that I have seen.
> >
> > There's images of women with the vertical braids, and women with round
> > bun-like hair projections with braids around them, but no
> > clearly-constructed caul or netted shapes.  I'm wondering if they are
> > a myth.
> >
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
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Date: Sat, 25 Oct 2003 19:59:01 +0100
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: [h-cost] micro-cultures, WAS KWCS photos
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Audrey,

No-one who gets to be Queen should resent anyone else's skill which 
enriches their kingdom.  Maybe she'll ask you to make her something 
really nice for court.  I know our SCA royalty have sometimes done that, 
when they're not costuming people themselves.

I would say, when it comes to historical costuming rather than fantasy 
or theatre, the mark of someone doing it well is that they look outside 
of their micro-society, because they're doing proper research and 
looking at the historical examples, not just what's around them. 
Obviously when you start you take your examples from other society 
members, but then you strive to do better.  Is there any society where 
the average level of costuming (especially for women, grrr) is so good 
you couldn't improve on it from historical documentation?  And the ones 
that stand out above that average are the ones that look "just like the 
picture!"

Jean

Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote
>> I even have a
>> good time torturing myself pondering how particular micro-cultures
>> (Faires, or SCA, for example) can affect one's taste in historical
>> clothing.
>
>I went to a pretty big SCA event last weekend (well, 200 - 250 people is a
>big event around here). We had royalty (our Kingdom's King, and royalty from
>neighboring kingdom), which means most people took out their nicest clothes.
>
>Well. Let's just say I'm afraid of making the Queen jealous of my dresses,
>once I get them finished. There was not a lot of eye candy (clothing, I
>mean - there were some nice guys present, don't worry). I used to think
>there was plenty.
>
>Which leads me to think: h-cost and margospatterns lists (and SCA-Garb list,
>a few months ago, but it was too high traffic and I had to unsubscribe)
>influence my tastes in clothing MUCH more than actual micro-societies in
>which I participate physically.
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
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-- 
Jean Waddie
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Half-globe cauls, a search
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On Sun, 26 Oct 2003, Cynthia Virtue wrote:

> Deredere Galbraith wrote:
> > On this site there is a picture of Jacoba van Beieren
> > http://members1.chello.nl/~r.olijve1/middeleeuwen.htm
> 
> It's an interesting picture, but, like the brass 100 years later than 
> I'm looking for them.  I tried a websearch to see if there was a larger 
> version of the picture, since that later time is a favorite of mine, but 
> didn't turn up anything yet.  It looks like there's a lot of good detail 
> in that one.

It reminds me of Van Eyck's picture of his wife, and also of his Arnolfini
marriage portrait. The latter has the same nets-over-buns with an edging
around the bottom of the bun; I think Van Eyck's wife does too, but I
don't have her picture at hand.

--Robin

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Penny--

I haven't seen the magazine you mention, and I couldn't read the
articles on your web site because I don't have a card. But I did find
some dresses you might want to know about.

In the collection of the State Historical Society of North Dakota,
Bismarck, are two children's dresses of navy blue pin-striped cotton.
They each have two machine-made labels inside:
"Compliments of the American Red Cross" and "Northern Division Sample
Garment." One was accompanied by a printed sheet of instructions for
sewing the dress, including sketches of the front and back views.

They seem to have been samples for a project that involved sewing for
donation, possible to war refugees. I think they date from the WWI
period..

I don't have a photo, but if you like, I could send a copy of the
instruction sheet.

Kim Baird

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Penny Ladnier
Sent: Sunday, October 26, 2003 1:42 AM
To: h-costume
Subject: [h-cost] Red Cross and Fashion

As I said earlier, I am always learning something new... well I did
tonight
and I thought I would share with you all.

I have been working on adding new articles to our online library's A
Year in
Fashion: 1920, www.costumegallery.com/1920/ .  The articles are from an
Aug.
1920 issue of Elite Fashions Magazine. Many, many color plates, when I
get
time to work on them.  Besides the plates, it contains some nice
articles.
While going over the articles again tonight, I discovered that several
were
submitted to the magazine by the American Red Cross.

I guess, I haven't thought about the Red Cross and clothing, except in
case
of someone's house catching on fire. But in the 1920s, they did a good
deal
of work with clothing people in needy areas of the world.  The article
about
the Russian Chairs will just
about make you cry.  I am new to Elite Fashions Magazine in my research
but
judging from the fashion plates in the magazine, it was geared toward
upper
middle class American women.  Including the Red Cross articles in the
magazine might be a way of trying to get these sector of people to
donate,
although donating money was not mentioned in the articles.  In the list
of
our new articles below, I have placed (ARC) beside the article titles
that
were American Red Cross reports.

New Articles today for A Year in Fashion: 1920:
***After Summer Fashions
***Amateur Dressmaker Articles:
---Trousseau Innovations
---Corsets and Figures
***American Girl Creates New Embroidery Fad (ARC)
***Beyond Russian Comprehension: Men Shaving (ARC)
***For Neptune's Daughter: Ladies' Bathing Suits
***Frocks (Dresses) Aglow with Color
***Hand Fans of Fashion
***Red Cross Costume: The Mode in the Balkans (ARC)
***Russian Chairs Yield Clothing (ARC)
***Summer Fashion Report
***Where Men's Hats are Made to Order (ARC)

Has anyone else ever noticed the American Red Cross submitting fashion
articles or reports in fashion magazines?  Does anyone else have a copy
of
this magazine and see these reports or articles in it?  My entire family
enjoyed reading these ARC articles... except the one with the Russian
chair.

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


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From h-costume-bounces@indra.com  Sun Oct 26 10:23:31 2003
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Subject: Re: [h-cost] Half-globe cauls, a search
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Hi,

You have to click on late middeleeuwen (late middleages).


Sue Clemenger wrote:

>Dang, all I got was the main page, no picture, and I don't comprehend
>the language (Dutch?)at all...
>--sue, who hasn't yet had enough coffee to be bilingual, and then it'd
>be French or Latin....
>
>Deredere Galbraith wrote:
>  
>
>>On this site there is a picture of Jacoba van Beieren
>>http://members1.chello.nl/~r.olijve1/middeleeuwen.htm
>>
>>Cynthia Virtue wrote:
>>
>>    
>>
>>>Hi Folks,
>>>
>>>Robin's recent post reminded me that I've got a costume item I'm
>>>trying to track down to a real medieval source.
>>>
>>>Half-globe cauls, as seen on Princess Isabella (1292-1358) in
>>>Braveheart
>>><http://members.tripod.com/~TroubleCat/Braveheart/bh17.jpg>, and in
>>>several places in Norris.
>>>
>>>Norris cites sources for them from 1333-1350, and generally for the
>>>times of Edward II (1307-1327) and III (1327-1377, his dates).
>>>
>>>I've checked on the web for Norris' originals, but no luck there, nor
>>>on the the SCA-Milliner's list.  I've looked in many of my more
>>>reliable costume books, such as Fashion in the Age of the Black Prince
>>>(years 1340-1365), but no mention of them that I have seen.
>>>
>>>There's images of women with the vertical braids, and women with round
>>>bun-like hair projections with braids around them, but no
>>>clearly-constructed caul or netted shapes.  I'm wondering if they are
>>>a myth.
>>>
>>>      
>>>
>>_______________________________________________
>>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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Subject: Re: [h-cost] Half-globe cauls, a search
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If you click on "Plaatjes", you'll get to a page of pictures, including an
interesting woodcut of a tailor's workplace.

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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Just to let folks know that I've updated my web site again with more
pictures of Elizabethan outfits. I've added a series on getting dressed
in my Spanish Ropa at the end of the Elizabethan Costume page and I've
added yet another installment to 'To Dress A Queen' showing some of the
updates that I've done and additions I've made since last year. 

http://members.tripod.com/seamstrix/


Karen

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Subject: [h-cost] Italian dress book on eBay
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HI all,

For those who are seriously interested in Italian costumes from paintings, 
there is a copy of _Dress in Italian Painting 1460-1500_, by Elizabeth 
Birbari on eBay.

Normally, I would want this myself, but I am not that serious for the steep 
starting price of the bid. So for those who are very serious about this 
subject, check it out.
Dress in Italian Painting, Birbari, SCA Renn
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3561500287&ssPageName=ADME:B:SS:US:1

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com
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Subject: Re: [h-cost] shantung silk
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Dear Kimiko.
As i remember it, Shantung silk is lighter and thinner than dupioni silk.
The chrispnes is similar.
What would you do with it?

Bjarne

----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: <h-costume@indra.com>
Sent: Saturday, October 25, 2003 10:56 PM
Subject: [h-cost] shantung silk


> Hi all
>
> I was wondering if anyone might be able to help me. I am trying to figure
> out what silk shantung is like, as compared to dupionni silk. I know both
> are slubbed silks, but is shantung as thin and crisp as dupionni? Does it
> have a good drape? Is it as shiny?
>
> My project actually requires it to not be shiny, have a good drape, be
firm
> and fairly easy to sew onto (as I will be appliqueing things onto the
> fabric), and have a good weight and not be too crisp. I am not sure why
> kind of silk would do just that.
>
> Thanks for any advice or suggestions.
>
> Kimiko
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.com
>
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] shantung silk
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Hi Robin

Thanks so much for your help in describing shantung for me. I understand 
bengaline. And the fabrics at Fashion Fabrics is just wonderful. Thanks for 
that pointer.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] shantung silk
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At 09:33 PM 10/26/2003 +0100, you wrote:
>Dear Kimiko.
>As i remember it, Shantung silk is lighter and thinner than dupioni silk.
>The chrispnes is similar.
>What would you do with it?
>
>Bjarne


Hi Bjarne

Thanks for your comments on Shantung. The shantung I am looking to possibly 
use is heavier than the dupionni I normally find, although I have just 
learned their is Chinese and Indian dupionni, and they have different 
weights as well.

What I plan on using them for is actually my first non-historical costume 
piece in a very long while. Taking the info on Japanese clothing I just 
learned, I am going to make an art-to-wear piece, a long vest or duster, 
with the concept of a giant Redwood tree in the middle of a fire storm. I 
have had this idea for a long while, made when I was playing a LARP 
character who would have worn this, but I no longer play that game, yet the 
idea is still in my head screaming at me to make it into reality.

The shantung may be used for the base duster that everything else will be 
worked onto, so it has to be firm enough for all that sewing. It also has 
to drape a bit at the sides, so something too crisp won't work. This is my 
first real foray into silk, so I wasn't sure what would work the best. If 
shantung is as Robin says it is, it will work. However, someone else off 
list suggested silk broadcloth, so I am checking into both.

Thanks for asking, and I hope that answers the question.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] shantung silk
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On Sun, 26 Oct 2003, Kimiko Small wrote:

> The shantung may be used for the base duster that everything else will
> be worked onto, so it has to be firm enough for all that sewing. It
> also has to drape a bit at the sides, so something too crisp won't
> work. This is my first real foray into silk, so I wasn't sure what
> would work the best. If shantung is as Robin says it is, it will work.
> However, someone else off list suggested silk broadcloth, so I am
> checking into both.

If you can find silk broadcloth, I'd love to know where too!

The shantung I've seen varies in weight. If you're ordering online, you
might want to order the minimum (it's 1/8 yard at Fashion Fabrics) to see
what it's like ... but some fabrics do disappear quickly.

If you don't want a lot of shine, they have (or at least used to have)  
some silk twills at Fashion Fabrics that are a little heavier -- more like
noil in that they're spun ("raw") silk, but not so rough as noil, and dull
rather than shiny, very drapey.

--Robin


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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] RE: Resources
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It is very true that what we think we are doing so wonderfully 
accurately today will probably seem horribly culturally-biased in 100 or 
200 years time.  But one thing that I think has improved, from the 19th 
century to now, is the understanding that history is different - "the 
past is another country" if you like.  I was so amused when we saw the 
"Parade of Kings" at the Tower of London:  it's a 17th century set of 
models of the great kings of England through history - all of them in 
beautiful plate armour, and all, including William the Conqueror, with 
their muskets!  They don't appear to have had very much concept at all 
of a timeline, that things 600 years ago were a lot more different than 
things in one's grandfather's time.  I think we are learning much better 
to know that there are questions to be asked.

Jean


Penny Ladnier <penny@costumegallery.com> wrote
>Cynthia, I believe the same thing will happen 100 years from now.  Each
>generation has its own interpretation.  I remember seeing photos in the
>Valentine Museum restoration of their historic house's interior during three
>different decades in the 20th Century.  The house was Aaron Burr's lawyer's
>house called the Wickham House.   The 1960s restoration of colonial was so
>funny!!!!!  The point is, that each generation thought the interpretation
>was period correct.
>
>History is an art... people look at it, study, and give their impression of
>what happened, by what is left to research.  That's why the history dept. in
>universities fall under the School of Arts.  Think of 10 people videotaping
>a car wreck they have seen.  Each person may have been in a different
>location on the scene, edit the film at different places on the tape, and
>make comments.  Each person saw the accident differently and account it
>differently.
>
>As most historians say, 90% of Egypt's artifacts are still under the sand.
>When  90% of a civilizations history is missing, who know what will turn up
>in the next 100 years.  And history will be re-written again.  Just like
>part of their history was re-written on the discovery of Tut's tomb.
>
>I am working in the 1920s tonight... running across things in original
>publications that I have not seen published in modern costume history books
>about 1920s.  Now go to google and type in 1920s fashion and see how many
>webpages account the fashion of this decade as Flappers.  Sorry, not every
>woman was a flapper in the 1920s.  So if the majority of people can not get
>this correct from less than 100 years ago, it would be hard to expect it
>from centuries ago.
>
>I am sure Robin and Drea are constantly finding all kinds of new information
>about their time periods.
>
>Personally, I try to stay away from the Victorians viewpoint of past
>history.  I did re-publish an article from 1902 about the History of Ruffs
>BUT it was strongly recommended to the reader that this was the way people
>thought in 1902.  Then we added a current day editorial, not written by me.
>The article was originally written because ruffs came into fashion again
>between 1900-1902.  We also provide several images examples of 1500s and
>1900s ruffs.
>
>Penny Ladnier
>Owner, The Costume Gallery & Costume Classroom
>www.costumegallery.com
>www.costumeclassroom.com
>
>
>[This E-mail was scanned for viruses by Plugit.com Virus Scanners 
>(http://www.plugit.com)]
>
>_______________________________________________
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-- 
Jean Waddie
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From h-costume-bounces@indra.com  Sun Oct 26 18:22:00 2003
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Greetings one and all,

   I was working out the plans for my new webpage and was curious what 
the legalities were for placing pictures from books on my website.  Any 
info would be quite helpful.

Roscelin


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Roscelin wrote:
>   I was working out the plans for my new webpage and was curious what 
> the legalities were for placing pictures from books on my website.  Any 
> info would be quite helpful.

The most reliable answer would come from a lawyer.  However, I have 
found these sites to be useful when thinking about photos in books of 
flat art.  Photos of 3D art are a different matter.

http://www.panix.com/~squigle/rarin/corel2.html  -- Bridgemean vs. Corel
http://www.artslaw.org/DERIV.HTM -- What is a derivative?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From h-costume-bounces@indra.com  Sun Oct 26 18:58:32 2003
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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Italian dress book on eBay
Date: Sun, 26 Oct 2003 17:57:01 -0600
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That's my auction, and the starting price is what I paid for the book. It's
in great condition, I've paged through it only once since I bought it, and
it still looks like a brand new book to me. Only reason I'm selling is
because I currently need the cash, and it's about 100 years later than the
time period I prefer to recreate. Any questions? Feel free to email me
off-list, I'll be happy  to answer them if I can.

Talia

> HI all,
>
> For those who are seriously interested in Italian costumes from
> paintings,
> there is a copy of _Dress in Italian Painting 1460-1500_, by Elizabeth
> Birbari on eBay.
>
> Normally, I would want this myself, but I am not that serious for
> the steep
> starting price of the bid. So for those who are very serious about this
> subject, check it out.
> Dress in Italian Painting, Birbari, SCA Renn
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3561500287&ssPa
geName=ADME:B:SS:US:1
>
> Kimiko
>
>
>
> Kimiko Small
> Costumer, Fiber Artist, Web Designer, Wife and Mother
> kimiko@kimiko1.com; http://www.kimiko1.com
> "When there is fear, there is no creativity" ~ C. Lowell
>
> Graphic Intern at Costume Gallery
> http://www.costumegallery.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-bounces@indra.com  Sun Oct 26 20:21:00 2003
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I would recommend a book by Nolo Press titled _Getting Permission: How 
to License & Clear Copyrighted Materials Online and Off._ 

Fran

Roscelin wrote:

> Greetings one and all,
>
>   I was working out the plans for my new webpage and was curious what 
> the legalities were for placing pictures from books on my website.  
> Any info would be quite helpful.
>
> Roscelin



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Hi Althea,

I've just learned that the Palazzo Mocenigo in Venice has a costume
collection, although I'm not sure what eras it covers.  Here's their
website:

http://www.museiciviciveneziani.it/frame.asp?musid=11&sezione=musei

- Kendra
http://demode.tweedlebop.com

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Thank you!
Althea
On Sunday, October 26, 2003, at 06:05 PM, Kendra Van Cleave wrote:

> Hi Althea,
>
> I've just learned that the Palazzo Mocenigo in Venice has a costume
> collection, although I'm not sure what eras it covers.  Here's their
> website:
>
> http://www.museiciviciveneziani.it/frame.asp?musid=11&sezione=musei
>
> - Kendra
> http://demode.tweedlebop.com
>
> _______________________________________________
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>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Greetings once again,

   Thank you for all your help and advice.  
    Would you believe I found a website ran by attorneys who specialize 
in websites.  Yep, I did a search and found them.  They had an option 
where you can ask a question for free.  So, now I am just waiting for a 
reply.  As soon as I hear something, I will pass on the information to 
everyone.

Roscelin


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>I was so amused when we saw the
"Parade of Kings" at the Tower of London:  it's a 17th century set of
models of the great kings of England through history - all of them in
beautiful plate armour, and all, including William the Conqueror, with
their muskets!  They don't appear to have had very much concept at all
of a timeline, that things 600 years ago were a lot more different than
things in one's grandfather's time.


Nice set :)

I think you have to take it in context. Would those be, for example,
comparable to media, film or toys today ? In which case similar things still
happen. How many times have we bemoaned costume designers of historical
reproductions ?

With a world timescale much shorter than the one we believe today (which
could still be inaccurate) there are a lot of squashed in  events !

Mel
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Subject: Re: [h-cost] Websites and copyrights (long)
Date: Mon, 27 Oct 2003 03:46:44 -0500
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Roscelin,

Here is some advice from someone who has been there and done that.

US copyrights are protected until 1924.  If the original copyright holder
did not renew their copyrights, the newest date you may use is 1923.  We
will be stuck at this year for some time because of the Sonny Bono copyright
law.  You can search for the renewal date by yourself.  But a lot of people
have told me the best way to do this is have a lawyer do it or call the
copyright holder directly.  If the original copyright holder tells you that
the copyright has not been renewed, get it in writing.

In England, copyrights expire after 100 years after the death of the creator
of work.  So if you wanted to publish writings by the Queen Mum, you would
have to wait until 100 years after her death.

>From my research France did not have strict copyrights until they joined the
European Union.  The EU says 70 years after creation but if countries in the
Union have longer duration laws, the countries, such as England will prevail
under their own copyright laws.  France is now following the 70 year rule of
the EU.

My sons have told me that Japan does not have copyright laws.  I am not sure
if that is true or not.  If you want to use Japanese resources, consult a
lawyer.

BTW, internet copyrights are not only applied to the images but the coding
for the webpages.

A good way to keep up with the laws pertaining to the internet, subscribe to
the Internet Case Library Newsletter.  They present actual court case
summaries and the outcome.  It is a wonderful way to learn.  You can read
the case summaries at:
http://www.phillipsnizer.com/internetlib.htm  The law is evolving so much
where websites are concerned and it is good to stay on top of it.

One big thing you will notice when reading the back law cases, is that you
not only have to be careful of copyrights but also trademarks.  Read the
Playmate of the Year case. The lawsuits over trademark infringement are
unreal.  Never, never in meta tags, put another business' name... so many of
the cases are about this.  The lawsuits will hit you in a heartbeat over
this.  The latest ruling for corporations is 95 years.  Disney pushed hard
for this ruling in Washington DC because Mickey Mouse was about to hit the
previous public domain rulings.

A few years ago, Disney was the first large corporation to come out on their
website, a full page legal notice that they would sue if anyone violated
their copyrights.  Seems like it was written in stone to me. My general rule
of thumb has been don't play with the big boys because they have big money
and big lawyers.

Another thing to really pay attention to is domain names and trademark
infringement.  From the voice of experience, when you enter the
international playing field, you want to protect yourself.  For an example,
lets take the name Hershey's.  Now we all now that the Hershey's business
sells chocolates worldwide.  Now you have a business in your town named
Hershey's and you sell chocolate.  Everyone in your town knows that you are
not THE Hershey's in PA.  Probably the Hershey's in PA had never heard of
your business.  Then you decide that you want to expand your business to the
internet...you entered the international marketplace.  Well you have entered
Hershey's PA selling audience, and they come after you with a lawsuit, and
99.5% of the time they will win the suit.  Because you are confusing the
customers.  Now lets say you have a costume shop instead of a chocolate
business.  You still call your business Hershey's because you are selling a
different product and can trademark your  business name with the govt. under
the apparel industry and not food service.

Another thing to remember is that logos are trademarked.  If you come up
with a competing product and your logo is similar to another business, you
can be sued big time for infringing a trademark.  The white swirl on a red
background found on a Coke can is a trademarked logo, even without the word
Coke on it.  The white swish logo is trademarked by Nike, even if the word
Nike is not used.  It is an emblem that represents the company and
identifies Nike.  Watch the Target commercials and watch how many times you
see the Target logo before you see the actual name of the company.  Some ads
do not even have the company name on it, just the red/white bullseye logo.
This is called branding the audience.  The audience become familiar with a
logo and believes it represents the company.

Businesses trademark two different ways, by business name and logo.  Even if
you say you have use a non-profit's logo, you can still get into this same
type of trouble.

Back to scanning images from books, I just learned this from working with
the Associated Press.... Say an article runs in your local newspaper
mentioning you and the reporter is from an Associated Press.  You can not
obtain permission to put a link on your website to the online version at
your local newspaper's website.  You have to obtain permission from the
Associated Press to link and not your local newspaper.  This is because the
AP is a subscription service that loans their stories to news agencies
worldwide.  They are very protective of their stories and images.

Now the same is true with museum images and books.  There is a limitation
usage agreement on the usage and number of copies between the author and
museum.  So if you scan the image, from lets say, Janet Arnold's book, and
put it on your website. You are violating Janet Arnold's copyright.  Now you
can be sued by Janet Arnold's heirs, the publishing company of the book, and
probably the museum that she borrowed the image from.  And Janet Arnold's
heirs might be sued from the museum.  Not only that, as you can see by the
Library Case website summaries, webhosts are also being sued for hosting
webspace of a copyright/trademark violator.

My best advice is to really do a lot of research on copyrights and
trademarks before making a website.  Then make a list of questions and talk
with a copyright lawyer.  OR don't  research and pay a lot of money for the
lawyer to do it.  Please, please, please do everything you can to protect
yourself.  BTW, get a copyright lawyer and not a regular lawyer.  A reg.
lawyer may not be up on all the current copyright issues.

In a courtroom, just because you didn't know the laws, doesn't excuse you
from the problem and the penalties.   Lastly, when you do make agreements
with authors, publishers, museums, etc. obtain a copy of the agreement for
your permanent records.

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


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Subject: Re: [h-cost]More about Red Cross and Fashion
Date: Mon, 27 Oct 2003 04:57:13 -0500
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Kim,

Thank you for the information and the offer of the pattern sheet.  I might
want a copy later on.

One article was about the children and ladies in this small village in
Albania liked the Red Cross workers dresses so much that they copied the
dresses and made them for themselves.

Another article is about an ARC worker who was a studied painter.  She went
to a small village in France that was very needy after WW1.  The families of
the town needed income.  The women were very good at embroidery, but used
old patterns from their grandmothers and did not draw well.  They also only
used coarse linen and white floss.  The artist made new patterns based on
old Greek designs.  She also had imported from the U.S. good quality colored
floss and nice linen.  After the women worked up samples, the ARC worker
took the samples to Paris.  The Americans at the Red Cross Embassy loved the
embroidery and placed orders for their chairs, bags, etc.  Then the French
women were making money for their families.

The report about the Russian chairs is about how the people of South Russia
did not receive shipments of clothing or fabric for five years.  The Red
Cross said their was little hope of getting fabric in the future. The people
were so desperate for fabric that they were stripping the fabric off of
chairs in their homes, railway coach seats, etc.  Others, not so fortunate,
were making clothing from rags, burlap sacks, and newspaper.  Can you
imagine being in South Russia's cold winter with nothing for clothing but a
newspaper!  The article goes on about other method's the people used, but it
is very grime.  This is one of those stories a parent reads to their child
when they don't eat all their food or wants five pairs of designer tennis
shoes.

I would love to gather more of these ARC stories and do a presentation at
Costume Society about them.  They are very touching.  The only catch is
these Elite Fashion magazines go for a lot of money on eBay and I can't
afford to buy them often.

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


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Subject: Re: [h-cost] Half-globe cauls, a search
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----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1082679831.705a88@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, October 26, 2003 11:24 AM
Subject: Re: [h-cost] Half-globe cauls, a search


Robin Netherton wrote:

> brasses and effigies, though I also recall illuminations) that show
visible network
> over buns at the temples -- sometimes bun-shaped (half-round) and
> sometimes larger cylinders or other variations.

Aha -- will start looking at the funerary stuff.  I think I may have a
book in the depths of the book-storage-room.  The cylinder style I also
like, but have found very little evidence as well.  Some of you may have
seen the webpage I made, where I tracked down Norris' alleged source,
and it looks only about 50% like what he drew.

His source is Queen Phillipa's effigy; she married Isabella's son Edward
III, so the cylinder style is a generation later.  Maybe!  (Oh, note: my
first email was Reigning years for the Eds, and birth-death for Isabella.)

She does have them, I have a picture somewhere, but they are mostly
broken off. Houston (Mediaeval Costume in England and France...)
has a good selection of redrawings of 14th century headdresses. And
better still she cites the source for each one.

> show that these are most likely not pairs of small bun-covers, but larger
> nets that go over the whole head, covering the hair buns in the process.

Yeah -- although the pictures in Norris at least (Will have to keep
trying to find the Scott book) look like the hair constructions at the
side of the head with the full net over them, are not right out to the
side, but more toward the back and lower.  Not earmuffs.

I suspect you're on a wild goose chase, and this sort of style didn't
develop properly until the early 15th century. See the statue of
Jeanne de Bourbon for instance. That's one of the few I can
think of that looks like hemispherical cauls per se, rather than
cylindrical or conical/parabolic ones, or hair stuffed (or neatly
arranged) into the sides of whole hairnets.

Claire

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Organization: Medieval Hats: http://www.virtue.to
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Half-globe cauls, a search
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From: Cynthia Virtue <cvirtue+dated+1082806079.d78005@thibault.org>
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Purple Elephant wrote:
>> His source is Queen Phillipa's effigy; she married Isabella's son Edward
>> III, so the cylinder style is a generation later.
> 
> She does have them, I have a picture somewhere, but they are mostly
> broken off.

That's just one of the problems!  (for the curious, my essay with 
pictures is at
http://www.virtue.to/articles/crespinette.html )

"The effigy does not have projecting leaves on her crown, or else they
rest aginst the pillow (the rest having broken), where we can't see them
in this picture. The cylinders rest right at the edges of her eyes (not
just in front of the ears).  It doesn't look as if there is an under-cap
lining her face.  The bottom of the cylinders are missing.  The dress
does have a low horizontal neckline, but it's not as deep, and the dress
appears to be laced, rather than showing the top of a furred, jeweled,
sidless surcoat."

> I suspect you're on a wild goose chase, and this sort of style didn't
> develop properly until the early 15th century.

I think it may be not a development, but an entire anachronism, the
half-globes.  That something showed up later that is similar is
coincidence, probably.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent


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From h-costume-bounces@indra.com  Mon Oct 27 11:14:26 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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References: <20031026.103404.-576127.0.Seamstrix@juno.com>
Subject: Re: [h-cost] Website Update
Date: Mon, 27 Oct 2003 17:14:48 +0100
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Dear Karen.

Oh i loved to see your pages. And that cranberry coloured Elizabethan is
lovely, lovely, and and and
Then there is your friend Ryan Barret, it is always a joy to look at him :-)
(sorry)

Bjarne
----- Original Message -----
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Sent: Sunday, October 26, 2003 5:34 PM
Subject: [h-cost] Website Update


> Just to let folks know that I've updated my web site again with more
> pictures of Elizabethan outfits. I've added a series on getting dressed
> in my Spanish Ropa at the end of the Elizabethan Costume page and I've
> added yet another installment to 'To Dress A Queen' showing some of the
> updates that I've done and additions I've made since last year.
>
> http://members.tripod.com/seamstrix/
>
>
> Karen
>
> ________________________________________________________________
> The best thing to hit the internet in years - Juno SpeedBand!
> Surf the web up to FIVE TIMES FASTER!
> Only $14.95/ month - visit www.juno.com to sign up today!
> _______________________________________________
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>


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----- Original Message -----
From: "Robin Netherton"

>much snippage<

'The Victorians had a similar but briefer interest
in certain other cultures and periods; Japanese and ancient Greek spring
to mind (and possibly the Egyptians, but I haven't heard as much about
that), and those fads tended to spawn popular reference books and art
books focusing on those periods.'

> End snippage <

This is a big problem for anyone trying to accurately recreate Medieval Near
and Middle Eastern clothing. Reference material written in English that
isn't Victorian is mighty slim, and most people end up copying the
Orientalist paintings. Most people do not realize, at least to start with,
how heavily romanticised the paintings were, and how most of the 'harem'
paintings made in the late 18 early 1900's were completely the imagination
of the painters. Outsiders never would have been allowed anywhere near the
women's quarters, leaving the painters of the time with no recourse but to
make things up as they went along. This makes for some very lovely and
rather scandalous paintings, but nothing terribly useful for a costumer to
use. :-)

Sheridan



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From h-costume-bounces@indra.com  Mon Oct 27 16:40:04 2003
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Subject: [h-cost] Re: history as a timeline
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Most people today don't have a very good idea of history as a timeline.
Someone on this list once posted that the general public's idea of history
was a bunch of people in funny clothes!

In the middle ages, people saw history as line, with Creation at one end and
the Second Coming at the other. Today we see history as a longer line, but
few people (IMHO) have a clear idea of what's on it and where. Clothing is
only the beginning of what people don't know!

Last year I took a Masters level class in the history of the Catholic
Church. One of the men in my class, a lawyer, was incensed by to learn that
St. Augustine had decided capital punishment shouldn't be prohibited for
heretics. Despite his own advanced education, he could not make any
distinction between someone in the 400s, whose country was besieged by
barbarians from without and in constant turmoil from within because of
violent religious battles, and himself, living today in a plural society
with many alternatives to the death penalty. I mean, this man was seriously
upset, practically yelling at the teacher.

The class was a real eye-opener for me, because so many people had similar
troubles. Even with very good texts, they could not make the leap to other
people's widely different cultures and circumstances.

Gail Finke

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Subject: [h-cost] Fabric designers
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Greetings,
 
   I was curious if there are any fabric designers on-line here on the 
H-Costume list.  I have a couple of questions for someone who is a 
professional fabric designer.  Thanks.

Roscelin


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Date: Tue, 28 Oct 2003 21:38:53 +1100
From: Purple Elephant <Lady_Angharad@bigpond.com>
Subject: Re: [h-cost] Half-globe cauls, a search
To: Historical Costume <h-costume@indra.com>
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----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1082806079.d78005@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, October 27, 2003 10:29 PM
Subject: Re: [h-cost] Half-globe cauls, a search


Purple Elephant wrote:
>> His source is Queen Phillipa's effigy; she married Isabella's son Edward
>> III, so the cylinder style is a generation later.
> 
> She does have them, I have a picture somewhere, but they are mostly
> broken off.

That's just one of the problems!  (for the curious, my essay with 
pictures is at
http://www.virtue.to/articles/crespinette.html )

"The effigy does not have projecting leaves on her crown, or else they
rest aginst the pillow (the rest having broken), where we can't see them
in this picture. The cylinders rest right at the edges of her eyes (not
just in front of the ears).  It doesn't look as if there is an under-cap
lining her face.  The bottom of the cylinders are missing.  The dress
does have a low horizontal neckline, but it's not as deep, and the dress
appears to be laced, rather than showing the top of a furred, jeweled,
sidless surcoat."

Err, yes, from memory Norris' drawing of Phillipa looks nothing like
her. Hers is the effigy where you go 'wow, she actually looks like
a plump middle aged woman wearing a kirtle'. As opposed to the
sort of stylised image of ideal youth you usually see in them.

> I suspect you're on a wild goose chase, and this sort of style didn't
> develop properly until the early 15th century.

I think it may be not a development, but an entire anachronism, the
half-globes.  That something showed up later that is similar is
coincidence, probably.

It may be another of those 'I think it looks like...' errors. One of the
pictures in Houston is of a young woman with two buns, based on
a wooden sculpture. The hair in the buns is drawn as a series of
squiggly lines that could very much be mistaken for cauls if you
didn't read the text. I don't know how closely it resembles the
sculpture, but it wouldn't surprise me if stylised hair
had been misinterpreted. 

Claire 
-- 

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Looking at this -- 

http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=001&Category_Code=TripVel

What is triple velvet?

-- Mara

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Half-globe cauls, a search
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Cynthia, writing about Philippa's effigy:
> That's just one of the problems!  (for the curious, my essay with 
> pictures is at
> http://www.virtue.to/articles/crespinette.html )
> 
> "The effigy does not have projecting leaves on her crown, or else they
> rest aginst the pillow (the rest having broken), where we can't see them
> in this picture. The cylinders rest right at the edges of her eyes (not
> just in front of the ears).  It doesn't look as if there is an under-cap
> lining her face.  The bottom of the cylinders are missing.  The dress
> does have a low horizontal neckline, but it's not as deep, and the dress
> appears to be laced, rather than showing the top of a furred, jeweled,
> sidless surcoat."

Then I think this bit is from Claire:

> Err, yes, from memory Norris' drawing of Phillipa looks nothing like
> her. Hers is the effigy where you go 'wow, she actually looks like
> a plump middle aged woman wearing a kirtle'. As opposed to the
> sort of stylised image of ideal youth you usually see in them.

This confusion didn't originate with Norris. I've seen a couple of 19th c.
sources that present Philippa as being dressed in a sideless surcote;
Norris almost certainly copied from one of them, not from the original
statue. For that matter, Victoria's own costume for her Plantagenet Ball
in 1842 was a sideless surcote of that type, and she wrote that her
designer (the leading costume historian of the 19th century)  copied the
design from Philippa's effigy. The effigy itself is in Westminster, so
would have been readily available and recognizable. I have wondered
whether there is another effigy involved, perhaps moved or lost or
re-attributed since then, or if there's a severe restoration issue. There
are a couple of 19th c. books on effigies I've been intending to track
down to determine what they were seeing and calling "Philippa's" effigy at
the time, but I haven't gotten around to it ... next time I travel to the
right rare book room I'll do that.

--Robin


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> Cynthia, writing about Philippa's effigy:
>>The cylinders rest right at the edges of her eyes (not
>>just in front of the ears). 

I'd meant to mention this further.  I've learnt to deal with having my 
hearing impaired by some of these creations, but being blinkered as well 
might just drive me batty.  The effigy cylinders are closer to the eyes 
than the narrowest sunbonnet I've ever seen.  In addition, if you looked 
at a woman wearing them from directly to the side, you wouldn't be able 
to see her face!

I suppose they'd've been great for my grandmother, who had an ugly nose...!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Cindy Abel" <brujne@creighton.edu>
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I'd meant to mention this further.  I've learnt to deal with having my
hearing impaired by some of these creations, but being blinkered as well
might just drive me batty.  The effigy cylinders are closer to the eyes
than the narrowest sunbonnet I've ever seen.  In addition, if you looked
at a woman wearing them from directly to the side, you wouldn't be able
to see her face!

I suppose they'd've been great for my grandmother, who had an ugly nose...!



The infamous English gable headdress also covers the ears--I find the
elaborate head and hair coverings of the European Middle Ages and early
Renaissance fascinating--the power of the Catholic Church then at its height
and all the directives and preachings about married women keeping their hair
covered turning into elaborate headdresses for those that could afford them
earning further directives and preachings against said headdresses. Perhaps
the original wearer of the "cylinder" headdress wanted the attention and
perhaps a degree of distance/ privacy(not being to hear as well or see off
to the side)Or she may have been deaf and such a fashion would force people
to address her to her face.

In addition to all those sermons and whatever for keeping one's hair covered
if female and married or widowed, elaborate headdresses were maybe also the
equivalent of today's hairstyling mania.  We torture our hair into all kinds
of colors and styles with a number of choices of products that would
bewilder the most fashionable full-head covering headdress wearers of the
past.

Cindy Abel

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I had a planning meeting at Simplicity yesterday for photographing the mid
19th century men’s wear.  They agreed with me that every accessory has to be
perfect. Shoes are a new issue for us.  We’ve been careful not to show the
women’s feet.

I’m going to need several styles of men’s shoes and boots and in several
sizes.  Actually, I’d prefer that they be used rather than new, so they’ll
look real. We’ll want to rent them, since it’s a one-day shoot.

I have a couple of questions. Does anybody know what’s happened to the
costumes from “On Cold Mountain”?  I know Ann Roth did it, so they’re
probably excellent. Or, are there any suggestions of other places I should
inquire.

Thanks.

Martha


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How about from the movie: Gods and Generals?  Also movie that has done the
Civil War recently, cable TV included. Turner Network TV has been good for
that, also Western post-Civil War movies--"Open Range" for instance.

Neglected areas of historic costuming are especially the bustle era--esp the
mid 1880's--could be marketed as "Does this make my butt look
big...enough?"--for women's historical costuming with accurate patterns.
Also the "reform dress" era of 1880's-early 1900's.  Tea dresses, and the
1913-1923 decade.

Cindy Abel



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Martha Kelly
Sent: Tuesday, October 28, 2003 11:15 AM
To: h-costume
Subject: [h-cost] Civil War footgear


I had a planning meeting at Simplicity yesterday for photographing the mid
19th century men’s wear.  They agreed with me that every accessory has to be
perfect. Shoes are a new issue for us.  We’ve been careful not to show the
women’s feet.

I’m going to need several styles of men’s shoes and boots and in several
sizes.  Actually, I’d prefer that they be used rather than new, so they’ll
look real. We’ll want to rent them, since it’s a one-day shoot.

I have a couple of questions. Does anybody know what’s happened to the
costumes from “On Cold Mountain”?  I know Ann Roth did it, so they’re
probably excellent. Or, are there any suggestions of other places I should
inquire.

Thanks.

Martha


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This is the closest I could find.

Lutrell Psalter date sometime between 1320-1340. British Library
Age of Chivalry Art and Society in Late Medieval England, edited Nigel 
Saul.

http://www.deredere.dds.nl/Headdress/Headdress.html

Greetings,
        Deredere


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Here's another question for you experienced dyers. A local store has put 
the spring linen on the clearance table. I can get hot pink or a pale 
lime green for a ridiculous amount per yard. They are actually 
linen-cotton blends.

Can I overdye these a darker color? Or is there something on the fabric 
to 'finish' it that would prevent successful results?



Dawn



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In a message dated 10/25/2003 9:35:33 PM Eastern Daylight Time, cvirtue+dated+1082684067.6160c1@thibault.org writes:
> Robin Netherton wrote:> > To begin with, medieval costume had an abundance of attention from> > 19th-century scholars and pseudo-scholars because of the simultaneous love> > affair the Victorians had with the "age of chivalry."> > Do you think that the Victorians of the time thought they were doing a> rigorous job at it?> > I often wonder if 100 years from now, people will look at the earnest> attempts of current costume historians and have a similar > reaction as> our reaction toward the Victorians.
I have often had the same thoughts.  I know that I am doing the best I can.  Sometimes I am right.  Sometimes I might be right.  Sometimes I am all out wrong.  But I am doing the best with what I have got, and I think that is the same with the Victorians.
Building upon that, we also have to take into account we have one hell of a distortion machine that is just as powerful as (if not more so) than the Victorians and their ideology.  That would be the film industry.  Think of the movies of the 30's and how their costumes look.  Now take a movie of the same era made in the 60's and again in the 90's...  They rarely look the same.  How many of us have seen something in a film, and then tried to document it?  Or made a costume because the cotehardie (or Edwardian Tea Dress, or Bustle Gown...) in this movie looked similar to what we remembered from our research, but we didn't go back to check what was wrong? I am sure we have all done it.  And we all want to believe we are above changing things to suit our modern sensibilities, yet I would be willing to bet to some extent every single one of us has made concessions based on conjectures, health, knowledge or just plain vanity.
Whenever I teach a class about historical clothing, I point out two things and tell a story.  1st) No matter how much I read, study statues and artwork, I will never know everything, even if I go back in time.  2nd) I can't judge yesterday by today's standards.  3rd) I tell the story of the Dodo.  Summed up:  I lived in Oxford for 6 months.  The LAST Dodo resides in Oxford at the Museum of Science & Technology.  I loved the building and used to go and just sit in it for an hour at a time.  I really got to know the Dodo.  He (I think it is a he) is stuffed.  I can describe every little aspect about him.  But no matter how well I can describe the last Dodo, it doesn't mean I can tell you about Dodos.  Maybe he was a oddity.  Maybe he was a runt...  I don't know.  I just know he was the last Dodo.  Costuming is the same thing...  I can tell you all about what I have seen, but I haven't seen everything that still exists, and even if I had it isn't everything that existed.  I tak!
 e what I can get and I make the best of it.
KitIf you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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> Here's another question for you experienced dyers. A local store has put
> the spring linen on the clearance table. I can get hot pink or a pale
> lime green for a ridiculous amount per yard. They are actually
> linen-cotton blends.
>
> Can I overdye these a darker color? Or is there something on the fabric
> to 'finish' it that would prevent successful results?

If I follow my own experience, as long as you wash them first, you will be
fine. Linen and cotton are easy to dye (linen is hard to make colorfast, but
easy to dye).
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Here's another question for you experienced dyers. A local store has put

the spring linen on the clearance table. I can get hot pink or a pale 
lime green for a ridiculous amount per yard. They are actually 
linen-cotton blends.

Can I overdye these a darker color? Or is there something on the fabric

to 'finish' it that would prevent successful results?

Dawn
>>>>>>>>>>>>>>>>>>>>>>>>>>>

Hancock's :)?  If so, I just used the dark green Rit over the bright
lime and got a nice, mellow warm mint color.  

Catherine
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Subject: Re: [h-cost] Half-globe cauls, a search
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From: Cynthia Virtue <cvirtue+dated+1082920764.2aab05@thibault.org>
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Deredere Galbraith wrote:
> Lutrell Psalter date sometime between 1320-1340. British Library
> Age of Chivalry Art and Society in Late Medieval England, edited Nigel Saul.
> 
> http://www.deredere.dds.nl/Headdress/Headdress.html

Right!  And that's the vertical braid style, with added oddity of a 
wimple that appears to fasten underneath the braids, truly peculiar!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] overdyeing commercial linen
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Dawn wrote:
> Can I overdye these a darker color? Or is there something on the fabric 
> to 'finish' it that would prevent successful results?

I think you'll be fine if you wash it, unless it has a "wrinkle 
resistant" finish, which is more-or-less an applied plastic.  That won't 
come out with washing.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Subject: Re: [h-cost] overdyeing commercial linen
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Audrey Bergeron-Morin wrote:

> 
> If I follow my own experience, as long as you wash them first, you will be
> fine. Linen and cotton are easy to dye (linen is hard to make colorfast, but
> easy to dye).

Ahhhh, so am I likely to end up with dark red fabric with hot pink 
streaks in it after I wash it the first time? Or is this a more subtle 
loss of color?



Dawn






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Date: Tue, 28 Oct 2003 11:25:10 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] overdyeing commercial linen
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At 12:27 PM 10/28/2003 -0600, you wrote:
>Here's another question for you experienced dyers. A local store has put 
>the spring linen on the clearance table. I can get hot pink or a pale lime 
>green for a ridiculous amount per yard. They are actually linen-cotton blends.
>
>Can I overdye these a darker color? Or is there something on the fabric to 
>'finish' it that would prevent successful results?
>
>
>
>Dawn


Hi Dawn

I have overdyed a few things with Ritz dyes, although I am not an expert in 
any way. I have mostly dyed cotton or wool, but linen shouldn't be too much 
different than cotton, as they are both plant based fibers.

Most likely there is a finish on the linen blend, to prevent wrinkles while 
on the bolt. Make sure they don't have that shiny finish tho, as that might 
be a chemical finish and won't come off. And make sure they don't have a 
poly blend in them as well. You can do a burn test to check that.

Otherwise, just give them a good washing with warm to hot water, at least 
twice. That will of course shrink the material a bit. But that should also 
remove any sizing on the fabric. I would personally let them soak in the 
warm to hot water between agitations, but that's me. Once washed up, go 
ahead with your dye to overdye them. Depending on the color you want to dye 
them, you may have to add an opposite color to mute the hot pink, unless 
you want it red or purple. You may want to test a swatch on the coloring if 
you want something specific. Otherwise, have fun with the dye.

Good luck!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
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"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: Kimiko Small <kimiko@kimiko1.com>
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At 12:14 PM 10/28/2003 -0500, you wrote:
>Or, are there any suggestions of other places I should
>inquire.


I am not sure where you are located. I do know Western Costumes in the Los 
Angeles area rents shoes, and they have a whole wall of them for different 
time periods. They rent to the movie industry. I visited their warehouse 
several years ago for Costume College, and boy was that an eye opening 
experience.

Good luck!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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Date: Tue, 28 Oct 2003 19:40:15 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] overdyeing commercial linen
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Dawn <dawn@reddawn.net> said:
> Ahhhh, so am I likely to end up with dark red fabric with hot pink 
> streaks in it after I wash it the first time? Or is this a more subtle 
> loss of color?

     Not streaky unless you cramp it up too much in the dyepot and it does not 
dye easily.

     I've used Rit color remover on wool with some success.  I bought a bright 
blue wool on sale, intending to dye it dark blue for a uniform coat.  The dark 
dye did not take at all.  I used the due remover on it, and the resulting color 
was a bright yellow.  But enough due was removed that I was able to dye it the 
dark blue I wanted.

     I don't know how much this will help with dyeing linen.

     -Carol

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Subject: Re: [h-cost] overdyeing commercial linen
Date: Mon, 27 Oct 2003 15:07:54 -0500
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> > If I follow my own experience, as long as you wash them first, you will
be
> > fine. Linen and cotton are easy to dye (linen is hard to make colorfast,
but
> > easy to dye).
>
> Ahhhh, so am I likely to end up with dark red fabric with hot pink
> streaks in it after I wash it the first time? Or is this a more subtle
> loss of color?

No, no, don't worry, nothing that drastic! It will fade the way cotton does,
just slightly faster. Nothing to be worried about, I think.
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From: "Cyn Bucheger" <cbucheger@paclp.com>
To: "Historical Costume" <h-costume@indra.com>
References: <200310281944.h9SJiTwO025588@jefferson.patriot.net>
Subject: Re: [h-cost] overdyeing commercial linen
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I've had some blueish-lavender colored linen that I used RIT color remover
and bleach (different loads) to get to a off white, that looks white until
you put it with something that is white.

I've also dyed linen darker colors over what ever they were to start with.
I just made sure to use wash first, use as hot of water as possible and do
twice as long agitating as reccomended.  I am typically using my washer, and
RIT dyes, since they are readily available and don't cost too much.  To get
the extra time in the washer, I reset several times, checking to be sure the
fabric hasn't knotted up too much as you go along.
Cyn



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Date: Tue, 28 Oct 2003 12:23:23 -0800
Subject: Re: [h-cost] overdyeing commercial linen
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I haven't dyed in a long time. If I was dyeing some linen also, would it
help to run a second rinse after dyeing with Synthrapol in it?

LynnD


On 10/27/03 12:07 PM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

>>> If I follow my own experience, as long as you wash them first, you will
> be
>>> fine. Linen and cotton are easy to dye (linen is hard to make colorfast,
> but
>>> easy to dye).
>> 
>> Ahhhh, so am I likely to end up with dark red fabric with hot pink
>> streaks in it after I wash it the first time? Or is this a more subtle
>> loss of color?
> 
> No, no, don't worry, nothing that drastic! It will fade the way cotton does,
> just slightly faster. Nothing to be worried about, I think.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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From h-costume-bounces@indra.com  Tue Oct 28 15:28:56 2003
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Date: Tue, 28 Oct 2003 15:26:11 -0500 (GMT-05:00)
From: Christine Krebs-Bonder <ckbonder@earthlink.net>
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Help! My local library only seems to have those awful victorian-based costume reference books on medieval and renassance clothing. I was complaining to the librarian and she said that if I could give her a list of the kind of stuff that I really wanted she would give the list to the library board when they decide what non-fiction books to get for next year.

So, ladies and gentlemen can you take a couple of minutes to email me off-list wittheh name and/or author of historical costuming refernces that a library ought to have?

Many thanks!

Christine in Dayton, OH

>^..^< >^..^< proudly owned by cats since 1993.


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From: Gail & Scott Finke <gailscott@eos.net>
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That dodo story was great!

I love to look at old costume movies and see what parts of the clothes,
hair, or makeup are so much a product of the time they were made. Those are
the things you don't notice at the time -- because that's just how you think
people look! Only later, when the styles have changed to new ones that seem
natural, do you see the anachronisms.

Right now I am in the middle of watching "Shogun" (only $52 on DVD at Sam's
Club, though the videos are still more than $200). I think it has really
held up well, though I'll have to get to the Hollywood-ized end to be sure.
I was in high school when the miniseries came out, and I remember watching
it breathlessly, the book in my lap because I couldn't wait to find out what
happened! (note to the curious: the book is still better) Because I don't
know anything about 17th-century Japan, it looks fabulous to me.

Richard Chamberlain plays the Pilot, and though his hair and beard look
pretty funny, the only thing that stands out as wrong about his Western
clothes (quickly switched to Japanese ones) is that despite two years of a
grueling voyage and many indignities in Japan, they still look clean and
new! But I would rather see clothes that look new than the new fashion for
dirty rags in historical movies. Ditto for bright colors -- the
cinematography is smashing -- instead of sepia filters. UGH! I hope the
whole past wasn't drab!

Also, my husband and I noted that the characters are nicely rounded. All of
them, even the evil Portuguise captain of the Black Ship (who looks straight
out of a painting) have both good and bad aspects. Everybody is mad at
everyone else -- the Franciscans hate the Jesuits, who hate the Dutch and
English heretics, who hate all the Catholics, who all (except the Jesuits)
despise the Japanese, who hate everyone. If it were made today, there would
be only good guys and bad guys. The Jesuits priests have funny hair, but I
like seeing their cassocks in Buddhist monk orange.

Anyway, I am enjoying it. I remember at the time a lot of fuss was made
about the authenticity of it, and I have a book on the making of the
miniseries packed away somewhere. Anyone have any comments?

Gail Finke

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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: history as a timeline
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I find that I have a timeline of costumes, that I can picture, and I 
have to hang events on that.  So, I can put composers in the right order 
by the style of wig, or authors by the clothes their characters wear. 
Do other people do that? or am I just strange?

Jean


Gail & Scott Finke <gailscott@eos.net> wrote
>
>
>Most people today don't have a very good idea of history as a timeline.
>Someone on this list once posted that the general public's idea of history
>was a bunch of people in funny clothes!
>
>In the middle ages, people saw history as line, with Creation at one end and
>the Second Coming at the other. Today we see history as a longer line, but
>few people (IMHO) have a clear idea of what's on it and where. Clothing is
>only the beginning of what people don't know!
>
>Last year I took a Masters level class in the history of the Catholic
>Church. One of the men in my class, a lawyer, was incensed by to learn that
>St. Augustine had decided capital punishment shouldn't be prohibited for
>heretics. Despite his own advanced education, he could not make any
>distinction between someone in the 400s, whose country was besieged by
>barbarians from without and in constant turmoil from within because of
>violent religious battles, and himself, living today in a plural society
>with many alternatives to the death penalty. I mean, this man was seriously
>upset, practically yelling at the teacher.
>
>The class was a real eye-opener for me, because so many people had similar
>troubles. Even with very good texts, they could not make the leap to other
>people's widely different cultures and circumstances.
>
>Gail Finke
>
>_______________________________________________
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-- 
Jean Waddie
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Date: Tue, 28 Oct 2003 20:26:54 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Half-globe cauls, a search
References: <Pine.LNX.4.10.10310251824020.32367-100000@shell.nightowl.net>
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Cynthia Virtue <cvirtue+dated+1082806079.d78005@thibault.org> wrote
>Purple Elephant wrote:
>>> His source is Queen Phillipa's effigy; she married Isabella's son Edward
>>> III, so the cylinder style is a generation later.
>>  She does have them, I have a picture somewhere, but they are mostly
>> broken off.
>
>That's just one of the problems!  (for the curious, my essay with 
>pictures is at
>http://www.virtue.to/articles/crespinette.html )
>
>"The effigy does not have projecting leaves on her crown, or else they
>rest aginst the pillow (the rest having broken), where we can't see them
>in this picture. The cylinders rest right at the edges of her eyes (not
>just in front of the ears).  It doesn't look as if there is an under-cap
>lining her face.  The bottom of the cylinders are missing.  The dress
>does have a low horizontal neckline, but it's not as deep, and the dress
>appears to be laced, rather than showing the top of a furred, jeweled,
>sidless surcoat."
>
>> I suspect you're on a wild goose chase, and this sort of style didn't
>> develop properly until the early 15th century.
>
>I think it may be not a development, but an entire anachronism, the
>half-globes.  That something showed up later that is similar is
>coincidence, probably.
>
It's fascinating, isn't it - there are a whole range of different ways 
of arranging hair in nets on either side of your head, in blobs or tubes 
or horns or rectangles - and a modern designer manages to pick the one 
version that never actually existed!

Jean
-- 
Jean Waddie
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Date: Tue, 28 Oct 2003 12:44:00 -0800
Subject: Re: [h-cost] Request for resources
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Wait! Not just off-list. I'm sure if we all got together with a really good
list and requested it of our various libraries, we could really improve the
quality of the libraries (and therefore ILL) all over the country or, dare I
say it?, the world. Muah-ha-ha.

LynnD



On 10/28/03 12:26 PM, "Christine Krebs-Bonder" <ckbonder@earthlink.net>
wrote:

> Help! My local library only seems to have those awful victorian-based costume
> reference books on medieval and renassance clothing. I was complaining to the
> librarian and she said that if I could give her a list of the kind of stuff
> that I really wanted she would give the list to the library board when they
> decide what non-fiction books to get for next year.
> 
> So, ladies and gentlemen can you take a couple of minutes to email me off-list
> wittheh name and/or author of historical costuming refernces that a library
> ought to have?
> 
> Many thanks!
> 
> Christine in Dayton, OH
> 
>> ^..^< >^..^< proudly owned by cats since 1993.
> 
> 
> _______________________________________________
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> h-costume@mail.indra.com
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Date: Tue, 28 Oct 2003 13:02:36 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Half-globe cauls, a search
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>It's fascinating, isn't it - there are a whole range of different 
>ways of arranging hair in nets on either side of your head, in blobs 
>or tubes or horns or rectangles - and a modern designer manages to 
>pick the one version that never actually existed!
>
>Jean
>--
>Jean Waddie

LOL!  Yes, but that makes me wonder....

If someone 1000 years from now based what they know about our 
fashions on the Victoria's Secret catalogue, I wonder if they'd come 
to the right conclusions....  ;-D

The Dodo story still holds.    How do we know that nobody wore it? 
Maybe EVERYBODY wore it, but wouldn't be caught dead in a portrait 
that way, 'cause that was their "everyday" hair....   I mean, how 
many portraits would have been painted of ladies in curlers or in mud 
masques, or housecoats???? (not that I think these cauls were 
comparable...)

Or maybe the artists were just making stuff up.

Heck, if I based what I know about ballet on what visual artists have 
created, I wouldn't know a damn thing.  99.9% of art you see 
depicting dancers is just plain WRONG.   (and on this, I actually AM 
an expert! - as opposed to this history of fashion, which I 
definitely am NOT)  ;-D

The answer is, we'll never know.... but we sure can keep looking....

Rima
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Date: Tue, 28 Oct 2003 13:03:31 -0800
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>Wait! Not just off-list. I'm sure if we all got together with a really good
>list and requested it of our various libraries, we could really improve the
>quality of the libraries (and therefore ILL) all over the country or, dare I
>say it?, the world. Muah-ha-ha.
>
>LynnD

EXCELLENT evil plan.... I second the motion.... even if I just use it 
to augment my own personal library!!

Rima
Evil Grin
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Date: Tue, 28 Oct 2003 13:03:30 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Re: modern distortions, and Shogun
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At 02:23 PM 10/28/2003 -0500, you wrote:
>Anyway, I am enjoying it. I remember at the time a lot of fuss was made
>about the authenticity of it, and I have a book on the making of the
>miniseries packed away somewhere. Anyone have any comments?


Thanks Gail for the reminder. I was a kid watching it with my Mom, who is 
Japanese. She would just cackle with the Japanese in-jokes and comments, 
and then translate them for us, and they weren't quite the same as was said 
in the movie itself. I fell in lust with Richard Chamberlain just from that 
movie. Something about him at the time.

I never got much into Japanese costumes, although a friend of mine is. I 
will have to ask him about the authenticity of that movie.

Which reminds me, that same friend says there is a new movie coming out 
soon with Tom Cruise, set in 19th c. Japan. Tom plays an old Civil War 
military officer who finds a new lease on life in Japan. I think it is 
called "The Last Samurai". I will be checking it out.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Tue, 28 Oct 2003 16:38:02 -0500 (GMT-05:00)
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I just got the Shogun DVDs on Friday and spent most of Saturday watching them from start to finish. I remember the week that it aired on televsion very well. All of us came home from high school or work and got all the chores and dinner done so we wouldn't miss a minute of it. I think it was the only time that our entire family was sitting down and watching the same show at one time and not trying to talk whoever had the remote (it was connected to the TV by a wire) into changing channels.

I have to say that the miniseries had a lot to do with getting me into historical costuming and world history in general. I still don't know enough about that late a period to comment on the accuracy of the European clothing, but the Japanese dress seems to still be pretty accurate (this per my sister who was stationed in Japan and took a class on Japanese clothing while she was there). 

I'd just love to get hold of the fabric form the kimonos!

Chrisitne in Dayton, OH

>^..^< >^..^< proudly owned by cats since 1993.


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What time period(s) are you interested in?

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>The infamous English gable headdress also covers the ears

A friend of mine has a headress she calls her "what hat".

This is because every time she wears it, she spends all day looking at
people who talk to her and going "What?"

*heehee*

Wendy Z
planning to wear my Flemish Kirtle to work on Friday in
Chicago, IL
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Subject: RE: [h-cost] overdyeing commercial linen
Date: Tue, 28 Oct 2003 15:33:17 -0700
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Oh yes!  You can do this...works great!  

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Dawn
Sent: Tuesday, October 28, 2003 11:28 AM
To: Historical Costume
Subject: [h-cost] overdyeing commercial linen

Here's another question for you experienced dyers. A local store has put 
the spring linen on the clearance table. I can get hot pink or a pale 
lime green for a ridiculous amount per yard. They are actually 
linen-cotton blends.

Can I overdye these a darker color? Or is there something on the fabric 
to 'finish' it that would prevent successful results?



Dawn



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From h-costume-bounces@indra.com  Tue Oct 28 17:39:25 2003
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Subject: Re: [h-cost] overdyeing commercial linen
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In a message dated 10/28/2003 3:09:33 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> No, no, don't worry, nothing that drastic! It will fade the way cotton 
> does,
> just slightly faster. Nothing to be worried about, I think.
> 

Especially if you are just "adjusting" the color it already is instead of 
changing the color altogether.

Remember your color wheel.....use the complimentary color [opposite color, 
directly across the wheel.....you don't really need an actual wheel just 
remember where the primary and secondary colors fall. Pink is of course a shade of 
red and lime green is a yellow-green....between the yellow and the green] don't 
use just grey or black. You'll get a richer, more appealing color. Unless you 
want a dull color.

Also with linen, don't dry it in the drier. Iron dry the damp. just spun 
fabric from the washer. Spay starch will crisp it up a little. Liquid starch will 
crisp it up a lot.
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From h-costume-bounces@indra.com  Tue Oct 28 17:50:56 2003
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Date: Tue, 28 Oct 2003 14:52:55 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] overdyeing commercial linen
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>Also with linen, don't dry it in the drier. Iron dry the damp. just spun
>fabric from the washer. Spay starch will crisp it up a little. 
>Liquid starch will
>crisp it up a lot.

OTOH, if you want to make your linen silky soft and drapey, take it 
out of the washer, fold it up, and stick it in the FREEZER.   When 
it's a solid block, take it out and iron it with a really hot iron. 
This takes a while, but doing this once or twice will take a scratchy 
crispy linen and make it yummy soft!

This is a great way to distress a period shirt without trashing 
it.... just makes it look well worn and comfy....

Rima
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From h-costume-bounces@indra.com  Tue Oct 28 18:11:53 2003
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AlbertCat@aol.com wrote:

  > Remember your color wheel.....use the complimentary color [opposite 
color,
> directly across the wheel.....you don't really need an actual wheel just 
> remember where the primary and secondary colors fall. Pink is of course a shade of 
> red and lime green is a yellow-green....between the yellow and the green] don't 
> use just grey or black. You'll get a richer, more appealing color. Unless you 
> want a dull color.

Are you suggesting that I should dye the fabric a complimentary color 
for a richer color result? I should put the hot pink into a yellow-green 
dye? And the lime into a red dye?


Dawn



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To: "Historical Costume" <h-costume@indra.com>
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	<BBC2F8CD.BDC9%gailscott@eos.net> <mAP7gGDYNtn$IwQc@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: history as a timeline
Date: Wed, 29 Oct 2003 12:47:55 +1300
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> I find that I have a timeline of costumes, that I can picture, and I
> have to hang events on that.  So, I can put composers in the right order
> by the style of wig, or authors by the clothes their characters wear.
> Do other people do that? or am I just strange?

I pretty much do the same.. except for the composers. I may have a poor ear
as far as persuing a musical career goes, but I do tend to separate my
composers by sound. Then again I do go... hmm.. frothy music... probably
18th C.. would the women be wearing paniers...?

Most events in European history I pin on the costume timeline I have in my
head. Not miltary uniforms, womens dress.... which makes for some odd mental
images really.

michaela
http://costumes.glittersweet.com


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] triple velvet?
Date: Wed, 29 Oct 2003 12:50:28 +1300
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> Looking at this --
>
http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=00
1&Category_Code=TripVel
>
> What is triple velvet?

In that regard I suspect it has more to do with thickness of the pile...
double velvet has a fuller pile than the very cheap nylon velvets. So Triple
probably has a very lovely full pile.

I know that book on costuming in Shakespeare's plays/times mentions triple
velvet as velvet with two pile lengths as well as a satin ground. Clicking
on the link to individual velvets on the above page brings up info that
suggests it's just a fuller piled velvet.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] overdyeing commercial linen
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In a message dated 10/28/2003 6:11:44 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> Are you suggesting that I should dye the fabric a complimentary color 
> for a richer color result? I should put the hot pink into a yellow-green 
> dye? And the lime into a red dye?
> 

No. I was assuming you want to just tone down the hot pink and lime green so 
they aren't bright. You can do this with say Ritt black [which is really grey- 
purple] very diluted. But that will look dingy. If you dip the hot pink in a 
pale, pale green bath, it will kill the glow but probably still be a nice 
color [I can't really be sure because I have to see the colors to decide what 
makes what]. The lime green could go in a pale wine color. These would be the 
exact complimentary colors and neutralize the existing color. You can go more...oh 
yellow... if you put the lime green in a pale orange instead of wine. [moving 
towards the yellow on the wheel], or more green if you put it in a pale blue. 


I only mention it because the default solution for many who don't work with 
mixing colors regularly is to just grey it down with some grey [light black]. 
But you can get some amazing subtle colors if you think in terms of the color 
wheel and complimentary colors.

Of course if you want the hot pink to be concord grape....try dipping it in a 
plum color.....the lime to be emerald, try shades of royal blue....

Whatever you do....make tests. If the fabric's so cheap, you can afford to 
experiment. Hey....have some fun!
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From: AlbertCat@aol.com
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Date: Tue, 28 Oct 2003 20:13:27 EST
Subject: Re: [h-cost] overdyeing commercial linen
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All this reminded me of when I had a friend who worked for this little 
Costume company. They had this 1860s ball gown of electric yellow taffeta [with big 
RED cabbage roses and sky blue ribbons all over the skirt ...YIKES!]. It fit a 
client perfectly but was too costumey and awful for the Christmas Carol they 
were costuming [I know...not 1860s, but with petticoats instead of a hoop, it 
looked fine]. My friend had taste and was doing his best to make it all look 
good without much to work with.

Anyway, it was 3:00 AM and I had helped him strip the roses and ribbons off 
the dress and now he was going to dip it in grey to kill the Psycho yellow. 
They were out of grey dye. But they had purple so I said "do it in purple" 
[yellow's compliment]. He was scared to death but agreed. I mean the bath was 
PURPLE. The head of the shop had a heart attack when she saw us put the dress in the 
dye. She literally screamed and ran over to the tub. "NOOOOOOOOO!!!!!" Then 
she dressed me down "You don't even work here!"

Bitch.

So the dress came out the most beautiful bronze color and was breathtaking. 
It almost looked metallic. My friend decorated it with white lace and wide 
olive picot ribbon. Very chic!

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] overdyeing commercial linen
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On Tue, 28 Oct 2003 AlbertCat@aol.com wrote:

> Whatever you do....make tests. If the fabric's so cheap, you can
> afford to experiment.

I always test before I dye. I keep a bunch of Rit liquid bottles on hand
anyway (I tend to buy them when drugstores go out of business) and I've
marked some as my sample bottles, so I know they're less than completely
full. (I hate using the powder, so I always go with liquid.)

I wash a strip of the fabric and cut it into swatches of about an inch or
two. I take a row of baby food jars or custard cups and put in each 1/2
cup of boiling water from the kettle. Then I add 1/2 tsp Rit for lighter
shades, or (more often) 1 tsp if I'm planning more intense/darker shades
(just as, on the back of the bottle, they tell you to use more dye for
darker shades). I often mix shades in dying, so I might use 1/2 tsp of
each of two colors. I label each cup with the dye name or combination.
Then I toss in a small swatch that I've just re-wet with hot water. I poke
it down with a toothpick or plastic spoon. I leave them till the water is
well cooled down -- a couple of hours -- and then pour them out, rinse
them, and let them dry. I make sure to keep straight which swatches came
from which cups! It helps to have written labels next to the cups, and
then later to line up the swatches with the labels.

I often wait till I have several fabrics to test, so I can use two or
three swatches in each cup.

Sometimes I find that a fabric will dye will in some color ranges, but not
take dye at all in other colors. When I have a large bolt of some neutral
or white fabric, I save the test swatches and pin them to the bolt, so I
know later what colors will work for whatever portion of the bolt I want
to dye.

--Robin


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Date: Tue, 28 Oct 2003 17:23:52 -0800
From: Kimiko Small <kimiko@kimiko1.com>
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Subject: [h-cost] On the topic of dyeing...
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Then may I ask a question.

I don't do much dyeing, and have basic ideas of the color wheel and all 
that. I was trained in business, not art. Anyway, I have a red-burgundy 
material, cotton velveteen, that I really want to darken to a more wine 
burgundy color. Should I add in blue, purple or a burgundy dye to it? What 
would you suggest?

thanks!

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Tue, 28 Oct 2003 18:08:56 -0800
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Subject: Re: [h-cost] overdyeing commercial linen
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> Here's another question for you experienced dyers. A local store has
> put the spring linen on the clearance table. I can get hot pink or a
> pale lime green for a ridiculous amount per yard. They are actually
> linen-cotton blends.
> 
> Can I overdye these a darker color? Or is there something on the
> fabric to 'finish' it that would prevent successful results?

Ah, the memories of 2001! We had so much of the lime green and hot 
pink 100% linen (at about $1.44 a yard for most of it!) Robin was 
lucky. She had access to lovely dark green!

I ended up with durn near 40 yards of the hot pink. I tried to remove 
the dye with Rit dye remover as well as (on a different part of the 
same piece) but the lightest I came up with was a peach color. (I 
would never have guessed that there had been that much yellow in it 
to begin with!)

So, mostly I've overdyed it. Using Royal Blue Rit, the bright pink 
comes out a gorgeous purple. I don't remember what I used for the 
burgundy (although I suspect I used a burgundy.) It seems to dye very 
well and I haven't had any problem with crocking, fading or other 
forms of colorfast problems so far. 

I would imagine that you could get most of the darker colors you 
might want to have using either the lime or the hot pink. (Not at the 
same time.)

I've dyed linen-cotton blends, and they seem to react the same. The 
darker you want it to be, the more dye you need. (Use twice the 
"recommended amount" to get darker colors such as burgundy or 
purple.)

If you are just trying to mute the color, make sure that the 
complimentary color to the one you're using is in the mix. In some 
cases it looks "richer" although sometimes it just looks muddier.

If you get enough, I strongly recommend that you try the dyes on 
small samples of your fabric. That way you have a better idea of how 
it will turn out, so that the "surprises" are more pleasant when you 
do the big piece.

One thing we did find with the 2001 batch was that even though they 
looked the same, some of the hot pink did not act like they were the 
same color as other pieces of hot pink. 

Have fun with it. I'm almost out of what I got back then. (It makes 
*really* nice interlining!)

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] overdyeing commercial linen
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At 12:27 PM 10/28/2003 -0600, you wrote:
>Here's another question for you experienced dyers. A local store has put 
>the spring linen on the clearance table. I can get hot pink or a pale lime 
>green for a ridiculous amount per yard. They are actually linen-cotton blends.
>
>Can I overdye these a darker color? Or is there something on the fabric to 
>'finish' it that would prevent successful results?
>
>Dawn

I have successfully overdyed a very bright lime green linen-cotton 
blend.  I first used a "color-remover" to dull the color, then used a 
strong blue and got a lovely solid blue fabric.  And I used the 
often-dissed Rit dyes.  Good result, no problems with dyes running or crocking.

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] triple velvet?
Date: Tue, 28 Oct 2003 21:12:22 -0500
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On Tuesday 28 October 2003 06:50 pm, michaela wrote:
> > Looking at this --
>
> http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=0
>0 1&Category_Code=TripVel
>
> > What is triple velvet?
>
> In that regard I suspect it has more to do with thickness of the pile...
> double velvet has a fuller pile than the very cheap nylon velvets. So
> Triple probably has a very lovely full pile.

I went to the site and checked out one of the samples on the page Mara gave us 
the pointer to.  It said:

Description:
Inexpensive, generic velvet suitable for a wide variety of uses
Color:
Scarlet red
Fiber Content:
65% Acetate/35% Nylon, percent N/A
Weight per Sq/Yd:
4.05 oz
Width:
45 inches
Origin:
 N/A 
Price:
Compare at $11.00 - Now only $5.98 per yard.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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> Whatever you do....make tests. If the fabric's so cheap, you can afford to 
> experiment. Hey....have some fun! 

Yeah!  Tie-dye it!

(ok, ok, I'm calming down now!)
-- 
Cynthia Virtue and/or
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] overdyeing commercial linen
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On Tuesday 28 October 2003 05:52 pm, Rima wrote:
> >Also with linen, don't dry it in the drier. Iron dry the damp. just spun
> >fabric from the washer. Spay starch will crisp it up a little.
> >Liquid starch will
> >crisp it up a lot.
>
> OTOH, if you want to make your linen silky soft and drapey, take it
> out of the washer, fold it up, and stick it in the FREEZER.   When
> it's a solid block, take it out and iron it with a really hot iron.

Uh, before or after you get it thawed enough to unfold?  :-)


-- 
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On Tue, 28 Oct 2003 kat@grendal.rain.com wrote:

> Ah, the memories of 2001! We had so much of the lime green and hot
> pink 100% linen (at about $1.44 a yard for most of it!) Robin was
> lucky. She had access to lovely dark green!

That was when Jo-Ann's its linens onto clearance nationwide that year, and
a bunch of us made the rounds and bought it up. I was doing some road
travel about that time, so I just cruised into the Jo-Ann's in each city I
passed through. I think I bought linen in five states.

We had a thread here on what we were doing with our "finds." Most of the
dark green I found ended up in Kat's stash; she made a good case that she
needed it more than I did ;-)  I'm still working through the massive
quantities of hot pink I got then, for mockups in my workshops (as some of
you know!). If the poster who mentioned the current find hadn't specified
that it was a blend rather than pure linen, I'd go get some of the lime
green to make my workshops even more vibrant ;-)

I did bleach some of the hot pink down to a nice pale pink, which I'll use
as a lining for something someday.

> One thing we did find with the 2001 batch was that even though they
> looked the same, some of the hot pink did not act like they were the
> same color as other pieces of hot pink.

I had at least three distinct shades. I've been hesitating to cut into the
last of the pieces, because it's really more of a raspberry and might be
rather attractive for a modern dress.

--Robin


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My 2001 hot-pink linen stash will become the lining for my first (trial)
fitted gown, one of these days.  Really.  As soon as I find the
ratzen-fratzen bag that I put my mockup and notes from Robin's workshop
in....(argh, I hate moving).
The wool twill for the gown's outside is a similar hot pink.  And this
summer, oh joy of joys, I actually found tangerine-colored upholstery
velvet for a sideless surcoat.  I oughta be eye-watering! Teddy would be
so proud! <g>
Robin, in one of my bins somewhere I've got a big chunk of linen yardage
also from 2001.  It was originally turquoise, and then I gave it a good
dose of Rit color remover.  It's now a very unfortunate sea foam green. 
I'd be glad to donate it for your workshop usage, if you'd like.  Heck,
you could even get some Evil Green Dye, and make it that acid green.....
--sue

Robin Netherton wrote:
> 
> On Tue, 28 Oct 2003 kat@grendal.rain.com wrote:
> 
> > Ah, the memories of 2001! We had so much of the lime green and hot
> > pink 100% linen (at about $1.44 a yard for most of it!) Robin was
> > lucky. She had access to lovely dark green!
> 
> That was when Jo-Ann's its linens onto clearance nationwide that year, and
> a bunch of us made the rounds and bought it up. I was doing some road
> travel about that time, so I just cruised into the Jo-Ann's in each city I
> passed through. I think I bought linen in five states.
> 
> We had a thread here on what we were doing with our "finds." Most of the
> dark green I found ended up in Kat's stash; she made a good case that she
> needed it more than I did ;-)  I'm still working through the massive
> quantities of hot pink I got then, for mockups in my workshops (as some of
> you know!). If the poster who mentioned the current find hadn't specified
> that it was a blend rather than pure linen, I'd go get some of the lime
> green to make my workshops even more vibrant ;-)
> 
> I did bleach some of the hot pink down to a nice pale pink, which I'll use
> as a lining for something someday.
> 
> > One thing we did find with the 2001 batch was that even though they
> > looked the same, some of the hot pink did not act like they were the
> > same color as other pieces of hot pink.
> 
> I had at least three distinct shades. I've been hesitating to cut into the
> last of the pieces, because it's really more of a raspberry and might be
> rather attractive for a modern dress.
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Subject: Re: [h-cost] On the topic of dyeing...
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In a message dated 10/28/2003 8:23:42 PM Eastern Standard Time, 
kimiko@kimiko1.com writes:

> Should I add in blue, purple or a burgundy dye to it? What 
> would you suggest?
> 

Again, it's hard to tell when you can't see the colors. Hard? It's 
impossible.

Still, purple and burgundy are a mix of red and blue so you'd be adding more 
red.
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] On the topic of dyeing...
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At 10:09 PM 10/28/2003 -0500, you wrote:
>Again, it's hard to tell when you can't see the colors. Hard? It's
>impossible.
>
>Still, purple and burgundy are a mix of red and blue so you'd be adding more
>red.


Very true, Thanks for pointing those both out to me. And no sense scanning 
the fabric in to show you, as colors vary between monitors. {shrug}. I 
think I shall try shades of blue with Robin's test method and see what erupts.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] overdyeing commercial linen
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At 07:46 PM 10/28/2003 -0600, you wrote:
>I wash a strip of the fabric and cut it into swatches of about an inch or
>two. I take a row of baby food jars or custard cups and put in each 1/2
>cup of boiling water from the kettle. <<snipped for length>>


Wow Robin, I like your method of testing. Thanks for sharing. I will be 
doing this with that red velveteen when I am ready to dye. So many 
projects, so little time.

Kimiko





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Well, I'm back from the fabric store with 11 and 3/4 yards of the light 
green. It's more of a pistachio color now that I have it in front of me. 
  The pink wasn't as bright as I recalled, either, but I passed on that 
because the bolt wasn't labelled and I wasn't sure after all if it was 
the linen blend. I was tired and not up to telling by feel. Eleven yards 
will be plenty for playing with.

Anyway, I got a box of dark green and a box of yellow RIT to experiment 
with. They were sold out of brown dye, but I'm sure I can find it 
someplace else. I really want a mustard color and a rust.

I'm going to put it into the wash tonight... maybe ... and run it 
through twice as suggested. I'll let y'all know what I do with it after 
that.



Dawn





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From: michael tartaglio <mikes@dandy.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Hose/stockings
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Hi, All. Lisa, I believe that Stubbes is referring to the "seam" of 
clocking that is placed at the sides of the ankles. Knitted hose might 
have them, in imitation of cut cloth hose. One form of cut cloth hose 
ends up having a triangular gusset at the ankle (both sides), due to the 
way that the cloth is cut. The foot portion, instead of being made up of 
three pieces (sole, upper foot and leg) is made of two, the sole with 
two wings (triangular bits) which fit into the gaps created by the 
cutting of the leg into an upper foot piece and two sides, which are 
joined at the back to form the seam all the way to the heel. Look at pg. 
189 fig 169 of MoL Textiles and Clothing for an idea (the example is 
listed as 16th cent. from Finsbury, London). Examples of knitted hose 
having clocking in imitation of the cuthose is on pg 635 (figs 
1698-1700) of Davenports Book of Costume. My wife, the knitter in the 
family, tells me that the "imitation gusset" is actually a useful part 
of the construction of the stocking, easing the transition between the 
heel and the foot as they are made from the leg of the stocking. Like 
the chicken and the egg, I don't know which came first, or for what 
purpose.  Later knit stockings, also in Davenport, also show decoration 
on the backseams.  Cheers, Mike T.


>  
>

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Date: Tue, 28 Oct 2003 23:13:28 -0500
Subject: Re: [h-cost] overdyeing commercial linen
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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Who knew that all that hot pink linen would be so popular---just not in that
color.   

I bought a bolt of the hideous hot pink linen a few years ago on sale. I ran
it through the washer and dryer, then debated about color remover.  Sounded
like too much work, so I risked dyeing it.  Used Rit dark plum and it took
beautifully.  

I did have trouble when I tried to dye too large of a length.  The crease
line on the fold didn't take the dye evenly.  I already rinsed it and ran it
through the dryer before noticing.  I later overdyed it using the same Rit
dark plum, and it evened up the color perfectly.  I kept the agitator going,
rather than just letting it soak.  That made all the difference.  I made a
knife pleated skirt with 4.75 yds of it.

Does anyone know the origin of the phrase "knife pleats"?  I assumed it was
because the crease is sharp.  I was having a hard time keeping each pleat
the same exact size and shape.  So got an old rounded table knife and used
it to fold over the fabric while pinning.  It made perfect, even pleats.
I'm self-taught so don't know correct practices but has anyone else ever
made knife pleats using a knife?  Is that the origin of the phrase?

P.S.  Robin, thanks for the post on how to set up a dye test.  I'm going to
try that next time, rather than crossing my fingers and hope it works.

Marsha
 
---------------------

on 10/28/03 9:58 PM, Robin Netherton at robin@shell.nightowl.net wrote:

>> Ah, the memories of 2001! We had so much of the lime green and hot
>> pink 100% linen (at about $1.44 a yard for most of it!)
> 
> I did bleach some of the hot pink down to a nice pale pink, which I'll use
> as a lining for something someday.
> 
>> One thing we did find with the 2001 batch was that even though they
>> looked the same, some of the hot pink did not act like they were the
>> same color as other pieces of hot pink.

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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
To: "Historical Costume" <h-costume@indra.com>
References: <12495664.1067372786300.JavaMail.root@waldorf.psp.pas.earthlink.net>
Subject: Re: [h-cost] Request for resources
Date: Tue, 28 Oct 2003 20:46:49 -0800
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I have a list of my "must have" costuming books on my website at
http://demode.tweedlebop.com/bookshelf.html

My focus is on 18th century, Regency, and Victorian (early to late)
costuming, plus there are some technical costuming books as well (which are
great for things like pattern drafting).

- Kendra

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] overdyeing commercial linen
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On Tue, 28 Oct 2003, Sue Clemenger wrote:

> Robin, in one of my bins somewhere I've got a big chunk of linen
> yardage also from 2001.  It was originally turquoise, and then I gave
> it a good dose of Rit color remover.  It's now a very unfortunate sea
> foam green.  I'd be glad to donate it for your workshop usage, if
> you'd like.  Heck, you could even get some Evil Green Dye, and make it
> that acid green.....

Thanks, but I know how hard it is to get linen where you are, and it makes
great lining and interlining, for various periods. I think you or someone
you know will find a use for it. Meanwhile, I'm sitting on a motherlode of
linen at Fashion Fabrics, so can replenish any time.

The idea of screaming hues for workshopping is really appealing, because
then I don't feel guilty plunging into the stuff with a shears (as in "but
maybe I should save that for something real").

--Robin

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] On the topic of dyeing...
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On Tue, 28 Oct 2003, Kimiko Small wrote:

> At 10:09 PM 10/28/2003 -0500, you wrote:
> >Again, it's hard to tell when you can't see the colors. Hard? It's
> >impossible.
> >
> >Still, purple and burgundy are a mix of red and blue so you'd be adding more
> >red.
> 
> Very true, Thanks for pointing those both out to me. And no sense
> scanning the fabric in to show you, as colors vary between monitors.
> {shrug}. I think I shall try shades of blue with Robin's test method
> and see what erupts.

Different shades of blue will likely also get you wildly different results
-- some will react well with the existing dye, others not so well.

Rit used to run a service -- you could send them a swatch of what you were
trying to match, and they'd send you the recipe of what dyes to combine to
get that shade. I don't know if they'd be able to do it with an existing
dyed piece, though, since there are too many factors involved in how well
the dye would take on an unknown fabric.

--Robin

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Marsha J Hamilton wrote:

>    
> 
>  so I risked dyeing it.  Used Rit dark plum and it took
> beautifully.  

You wouldn't happen to have a picture? I had trouble imagining 'dark 
plum' from the grey color of the box at the store.



Dawn




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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: stretchy (was Re: [h-cost] Re: Hose/stockings
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>I haven't been able to find a knit fabric that's close to what I see in 
>original hose, because originals were not stretchy.

Where do you get that information?  If they are knitted, they ought to 
stretch a little - any knitted fabric has some stretch in it.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: hose gusset (was Re: [h-cost] Re: Hose/stockings
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>Hi, All. Lisa, I believe that Stubbes is referring to the "seam" of 
>clocking that is placed at the sides of the ankles. Knitted hose might 
>have them, in imitation of cut cloth hose.

Immitation is not why knit hose have that gusset, even tho the first 
knitted stockings were probably made by someone looking at how cut-and-sewn 
hose were made.  You knit that gusset in there so the top of the foot 
sticks out at an angle from the leg (and it is about the simplest way to 
accomplish this).  Then you knit the heel, then you knit the rest of the 
foot.  While you're still knitting the leg, you can decorate above where 
the gusset will be.

There are several ways to make the heel, foot, and toe of a stocking.  The 
book Folk Socks shows several, along with the working directions for each.

>One form of cut cloth hose ends up having a triangular gusset at the ankle 
>(both sides), due to the way that the cloth is cut. The foot portion, 
>instead of being made up of three pieces (sole, upper foot and leg) is 
>made of two, the sole with two wings (triangular bits) which fit into the 
>gaps created by the cutting of the leg into an upper foot piece and two 
>sides, which are joined at the back to form the seam all the way to the 
>heel. Look at pg. 189 fig 169 of MoL Textiles and Clothing for an idea 
>(the example is listed as 16th cent. from Finsbury, London). Examples of 
>knitted hose having clocking in imitation of the cuthose is on pg 635 
>(figs 1698-1700) of Davenports Book of Costume. My wife, the knitter in 
>the family, tells me that the "imitation gusset" is actually a useful part 
>of the construction of the stocking, easing the transition between the 
>heel and the foot as they are made from the leg of the stocking. Like the 
>chicken and the egg, I don't know which came first, or for what 
>purpose.  Later knit stockings, also in Davenport, also show decoration on 
>the backseams.  Cheers, Mike T.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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From h-costume-bounces@indra.com  Wed Oct 29 06:42:35 2003
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From: Lee Thompson-Herbert <lee@retro.com>
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Subject: [h-cost] tricorn hat?
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I'm looking for a good quality tricorn hat.  I've got a line on a decent
quality felt one with a leather liner, but I'd like to see other sources.
I especially don't want one of Hatcrafter's cardboard-like felt hats.  If
I'm going to go to a lot of trouble trimming a hat, I'd like the base to
actually be worth the trouble.  Failing that, what's a good source for a
round-crowned, wide-brimmed felt blank?  I've certainly blocked tricorns out
of wide brimmed hats for dolls before.  It'd just be a lot more trouble 
for a full-sized hat, as I only have a very wimpy steamer.  Better to just
buy a hat that's already been blocked if possible.

Urgh.  Speaking of blocking, my felt topper needs a new coat of sizing.  
The cats just *love* that hat, because of all the ribbon trim hanging off
it.  So it gets pulled down off the shelf and squashed fairly often...

Hey, remember all those AOL CDs I was looking for?  I'm finally putting
them to use.  I'm just finishing the last stages of destroying and reassembling
a black overcoat into a long overvest with laced sides, chain and snapclip
closed front, and pointed shoulder pads.  I'm in the process of sewing down
ribbon strips to reinforce the areas that the CDs will be resting on.  The
CDs get sewn in by hand with 60 pound monofilament (fishing line is cheap
and nearly indestructable).  

Anyway, I put the garment shell on to try out the fit and see what it'd
look like with my knee-high buckle boots.  And the thought that came to my
head was, "With a poufy shirt and a tricorn hat, I could be the Music Pirate,
dread scourge of the RIAA!"  I may have to do this costume sometime.  But
I wanted the tricorn hat *before* I got this idea.  I just love weird and
lavishly trimmed hats.

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 h-costume-bounces@indra.com  Wed Oct 29 07:50:56 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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Maybe they're referring to the type of fiber used? Silk is much less
"elastic" than wool, for instance.
--sue

Carolyn Kayta Barrows wrote:
> 
> >I haven't been able to find a knit fabric that's close to what I see in
> >original hose, because originals were not stretchy.
> 
> Where do you get that information?  If they are knitted, they ought to
> stretch a little - any knitted fabric has some stretch in it.
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
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From h-costume-bounces@indra.com  Wed Oct 29 08:29:47 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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I think this comment came from Carol who also mentioned she spent a month in
Nottingham learning to use an old knitting frame.  If so, its first hand
experience talking.

Lisa Sinervo


----- Original Message -----
From: "Carolyn Kayta Barrows" <kayta@frys.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 28, 2003 11:24 PM
Subject: stretchy (was Re: [h-cost] Re: Hose/stockings


>
> >I haven't been able to find a knit fabric that's close to what I see in
> >original hose, because originals were not stretchy.
>
> Where do you get that information?  If they are knitted, they ought to
> stretch a little - any knitted fabric has some stretch in it.
>
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
>
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
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References: <000601c3979b$bfd77780$6c2da5d1@pavilion>
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Date: Wed, 29 Oct 2003 08:30:39 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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>>I haven't been able to find a knit fabric that's close to what I 
>>see in original hose, because originals were not stretchy.
>
>Where do you get that information?  If they are knitted, they ought 
>to stretch a little - any knitted fabric has some stretch in it.

Hi Carolyn,

      I got that info by looking at lots and lots and lots of 18thC 
extant stockings.  The knit is dense and tight.  I haven't compared 
it directly to the stretch in bias cut fabric - I should do that.

      Modern knit fabrics are very stretchy, much moreso that the 
original stockings.

      -Carol
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Date: Wed, 29 Oct 2003 09:03:27 -0500 (EST)
From: Drea Leed <drea@nospam>
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Subject: [h-cost] sew-on tudor jewels
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Everyone,

I just came across a site, http://www.tudorjewels.com , that has replica
"ouches" (sewn-on jewels in elaborate gold settings, like the ones you
often see on partlets, french hoods, and Tudor gown necklines).  Whee!
Must buy.

Drea

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From h-costume-bounces@indra.com  Wed Oct 29 09:15:24 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Date: Wed, 29 Oct 2003 15:17:49 +0100
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Subject: [h-cost] tricorne hat.
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Try this source, they have a lot of different ones to choose from.
http://www.hatcrafters.com/
Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Drea Leed, you are an evil, evil woman! <g>
Thanks for sharing, and blowing my budget out of the water! <g>
--sue

Drea Leed wrote:
> 
> Everyone,
> 
> I just came across a site, http://www.tudorjewels.com , that has replica
> "ouches" (sewn-on jewels in elaborate gold settings, like the ones you
> often see on partlets, french hoods, and Tudor gown necklines).  Whee!
> Must buy.
> 
> Drea
> 
> _______________________________________________
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> h-costume@mail.indra.com
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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] sew-on tudor jewels
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OMG.... there are "buttons" under Henry VIII which match the ones on the
Isabel de Valois partlet!!!  Drool......

----- Original Message ----- 
From: "Drea Leed" <drea@nospam>
To: <h-costume@indra.com>
Sent: Wednesday, October 29, 2003 9:03 AM
Subject: [h-cost] sew-on tudor jewels


>
> Everyone,
>
> I just came across a site, http://www.tudorjewels.com , that has replica
> "ouches" (sewn-on jewels in elaborate gold settings, like the ones you
> often see on partlets, french hoods, and Tudor gown necklines).  Whee!
> Must buy.
>
> Drea
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <BBC4A898.4477%mjh@pearlandplume.com>
Subject: Re: [h-cost] overdyeing commercial linen
Date: Wed, 29 Oct 2003 09:46:54 -0500
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I use my hem gauge to make knife pleats. I figure out how wide I want it and
set the little slider thing there. Then I fold the fabric over it to the
slider thing and every one is the same width!

----- Original Message ----- 
From: "Marsha J Hamilton" <mjh@pearlandplume.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, October 28, 2003 11:13 PM
Subject: Re: [h-cost] overdyeing commercial linen


> Who knew that all that hot pink linen would be so popular---just not in
that
> color.
>
> I bought a bolt of the hideous hot pink linen a few years ago on sale. I
ran
> it through the washer and dryer, then debated about color remover.
Sounded
> like too much work, so I risked dyeing it.  Used Rit dark plum and it took
> beautifully.
>
> I did have trouble when I tried to dye too large of a length.  The crease
> line on the fold didn't take the dye evenly.  I already rinsed it and ran
it
> through the dryer before noticing.  I later overdyed it using the same Rit
> dark plum, and it evened up the color perfectly.  I kept the agitator
going,
> rather than just letting it soak.  That made all the difference.  I made a
> knife pleated skirt with 4.75 yds of it.
>
> Does anyone know the origin of the phrase "knife pleats"?  I assumed it
was
> because the crease is sharp.  I was having a hard time keeping each pleat
> the same exact size and shape.  So got an old rounded table knife and used
> it to fold over the fabric while pinning.  It made perfect, even pleats.
> I'm self-taught so don't know correct practices but has anyone else ever
> made knife pleats using a knife?  Is that the origin of the phrase?
>
> P.S.  Robin, thanks for the post on how to set up a dye test.  I'm going
to
> try that next time, rather than crossing my fingers and hope it works.
>
> Marsha
>
> ---------------------
>
> on 10/28/03 9:58 PM, Robin Netherton at robin@shell.nightowl.net wrote:
>
> >> Ah, the memories of 2001! We had so much of the lime green and hot
> >> pink 100% linen (at about $1.44 a yard for most of it!)
> >
> > I did bleach some of the hot pink down to a nice pale pink, which I'll
use
> > as a lining for something someday.
> >
> >> One thing we did find with the 2001 batch was that even though they
> >> looked the same, some of the hot pink did not act like they were the
> >> same color as other pieces of hot pink.
>
> _______________________________________________
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> h-costume@mail.indra.com
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>

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Date: Wed, 29 Oct 2003 09:55:50 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] sew-on tudor jewels
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MAN,  that just hurts....  and me with no cash to spare.   Wow... very 
nice.   Bridgette




>----- Original Message -----
>From: "Drea Leed" <drea@nospam>
>To: <h-costume@indra.com>
>Sent: Wednesday, October 29, 2003 9:03 AM
>Subject: [h-cost] sew-on tudor jewels
>
>
> >
> > Everyone,
> >
> > I just came across a site, http://www.tudorjewels.com , that has replica
> > "ouches" (sewn-on jewels in elaborate gold settings, like the ones you
> > often see on partlets, french hoods, and Tudor gown necklines).  Whee!
> > Must buy.
> >
> > Drea

Mari Stewart
Cornell University


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] On the topic of dyeing...
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Kimiko wrote:
> I don't do much dyeing, and have basic ideas of the color wheel and all 
> that. I was trained in business, not art. Anyway, I have a red-burgundy 
> material, cotton velveteen, that I really want to darken to a more wine 
> burgundy color. Should I add in blue, purple or a burgundy dye to it? What 
> would you suggest?

I'd add green to mute the colour, then look at what you get and decide
whether you want it bluer or not.  Choose a green from the bluish end of
the spectrum if you think you want to head towards
purplish-wine-burgundy rather than muted-dark-red-burgundy. 

K.

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Date: Wed, 29 Oct 2003 07:41:49 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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At 11:24 PM -0800 10/28/03, Carolyn Kayta Barrows wrote:
>>I haven't been able to find a knit fabric that's close to what I 
>>see in original hose, because originals were not stretchy.
>
>Where do you get that information?  If they are knitted, they ought 
>to stretch a little - any knitted fabric has some stretch in it.

Some -- but not necessarily as much as you might think.  I've been 
knitting a reproduction of some 13th c. silk gloves, and they have 
next to no stretch (somewhat to my chagrin, since I'd assumed some 
when designing the pattern).  A certain amount of the stretch in 
woolen knits comes from stretchiness of the wool yarn itself.  A 
relatively loose knit will also be stretchier than a very tight one. 
Hose knit very tightly from a non-stretchy fiber will have relatively 
little give.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: stretchy (was Re: [h-cost] Re: Hose/stockings
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Heather wrote:
<<Hose knit very tightly from a non-stretchy fiber will have relatively
little give.>>

I can give practical support to that statement!  I've been knitting a
pair of replica 18th century thread (linen) stockings.  Not only does
the knitted fabric not stretch much at all, but it's difficult to knit
because you're so used to yarn having some give.  I'm afraid the tension
at the tops of my stockings is all crazy because I was experiencing the
learning curve.

I hadn't remembered that until you posted, Heather.  Thanks!

Kass

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Thank you!

I sent him the sites, and he's shared them with others. Anything that 
helps accuracy... Most of this is a few centuries later, but I guess we 
do what we can do. I couldn't find anything much earlier.

Anne

Sheridan & Shane wrote:

> 
> 
> Hi,
> Here are some web sites that I hope will help:
> 
> http://www.angelcynn.org.uk/
> 
> http://www.florilegium.org/files/CLOTHING/cl-Rom-Brit-art.html
> 
> http://www.rook.org/heritage/german/anglosaxon.html
> 
> http://www.regia.org/   (These are the guys you see in all of the BBC and
> History channel shows involving the dark ages)
> 
> 
> Sheridan
> 
> -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
> 
> Experience is a wonderful thing. It enables you to
> recognize a  mistake when you make it again.
> 
> 
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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> 


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> I just came across a site, http://www.tudorjewels.com , that has
> replica "ouches" (sewn-on jewels in elaborate gold settings, like the
> ones you often see on partlets, french hoods, and Tudor gown
> necklines).  Whee! Must buy.

Drea, you are a *Baddddd* woman! These are beautiful.

Usually I just use buttons I've found over the years and gotten on 
sale. Or else earrings and the like from places like TJ Max (on sale, 
of course.)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Sew on Tudor Jewels
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Hello!

After lurking for weeks, this is my first official post :)
I think these replicas are beautiful, but take into consideration that diamonds were often painted black in portraiture (due to lack of complicated faceting and less light being refracted). So a lot of these replicas that are produced using Onyx are inaccurate. But they do have lovely things! *drool*

Victoria Ruhl
Jewelry fanatic and wanna-be costumer.



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Subject: Re: [h-cost] polar bear trousers, was wool in summer
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----- Original Message -----
From: "Mara Riley"


> Polar bear trousers?  Sounds intriguing, can you tell us more?
>
> -- Mara
>
> --- Sheridan & Shane <shooie@sprint.ca> wrote:
> > Heh,
> > Winter has its own set of troubles, I have often been tempted to
> > make a pair
> > of polar bear trousers like the ones in the'Danish Textiles' book.
> > ;-)
> >
> > Sheridan


Hi!

Sorry it took so long to respond, I just found this post in my in box.

Margrethe Halds Ancient Danish Textiles book has some rather interesting
garments in it, one of which is a pair of Polar bear trousers found in east
Greenland. (Angmagssalik) She uses them as an example of the development of
trousers, from when clothing was made from skins to when they were made of
fabric. (The materials they were made of dictated the cut, goes the theory)

There is also an interesting section on hide garments that includes a Polar
bear coat from the same find, and a photo of a small child wearing an entire
calfskin formed into a rudimentary coat. (The legs of the skin were used as
sleeves)

My husband wants me to make him a plain leather coat based on the patterns
in the book, I keep threatening to make one of *very* fluffy fun-fur, with
the pants. :-)

Sheridan



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Subject: Re: [h-cost] Sew on Tudor Jewels
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Yes. I emailed him and asked if he did something other than onyx for the
settings.  Like garnet...or green colored glass...yum...

Drea

On Wed, 29 Oct 2003, Tori Ruhl wrote:

> Hello!
>
> After lurking for weeks, this is my first official post :)
> I think these replicas are beautiful, but take into consideration that diamonds were often painted black in portraiture (due to lack of complicated faceting and less light being refracted). So a lot of these replicas that are produced using Onyx are inaccurate. But they do have lovely things! *drool*
>
> Victoria Ruhl
> Jewelry fanatic and wanna-be costumer.
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>

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www.maering.co.uk my site 5th C Anglian

Mel

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At 9:08 AM -0700 10/29/03, 2 people on h-costume-request@indra.com wrote:
>  >I haven't been able to find a knit fabric that's close to what I see in
>>original hose, because originals were not stretchy.
>
>Where do you get that information?  If they are knitted, they ought to
>stretch a little - any knitted fabric has some stretch in it.

Hi
Comments from a 3rd person, who is working on a pair of socks now 
(Almost ready to start decreasing!!! And it's only 3 days old!!!) The 
knitting is coming out suprisingly firm, only a little bit stretchy. 
I don't know if it's because I'm knitting as high a count as possible 
with this grist of yarn or if it is because of the fine gauge 
needles???

BUT the sock top fits, now to carefully measure the rest of my leg 
for the decreases--I thought it would take much longer to get to this 
stage, but once past the rows of perl then knit ribbing the needles 
are getting more polished and my fingers seem to be learning the 
drill.

So while a professional sock knitter would have a pair done by now, I 
think I might just get a pair done in my lifetime <G>.

Ta
Carol

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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>>>I haven't been able to find a knit fabric that's close to what I see in 
>>>original hose, because originals were not stretchy.
>>
>>Where do you get that information?  If they are knitted, they ought to 
>>stretch a little - any knitted fabric has some stretch in it.
>
>Hi Carolyn,
>
>      I got that info by looking at lots and lots and lots of 18thC extant 
> stockings.  The knit is dense and tight.  I haven't compared it directly 
> to the stretch in bias cut fabric - I should do that.
>
>      Modern knit fabrics are very stretchy, much more so that the 
> original stockings.

I only question that the period-knit ones "were not stretchy", by which I 
understood that you were saying they didn't stretch at all.  My point is 
that if they are knitted then surely there must be some stretch in 
them.  Even knitted fabric made of copper wire stretches a little.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Subject: Re: [h-cost] overdyeing commercial linen
Date: Tue, 28 Oct 2003 13:47:45 -0500
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> >Also with linen, don't dry it in the drier. Iron dry the damp. just spun
> >fabric from the washer. Spay starch will crisp it up a little.
> >Liquid starch will
> >crisp it up a lot.

I dry it in the dryer first so that I KNOW it's shrunk as much as it will
and that it's able to whitstand the abuse. After that I still put it in the
drier, but I stop it just short of being ready. When we bought our iron, we
chose the one that produces the most steam, and it's enough to remove all
drier creases from linen. It has to be hot enough, though, and that's almost
the highest setting the iron can go. I prefer ironing it when dry or almost
dry than going through the pain of trying to get it dry by ironing when it's
just spun from the washer.
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Subject: Re: [h-cost] overdyeing commercial linen
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> Also with linen, don't dry it in the drier. Iron dry the damp. just spun
> fabric from the washer. Spay starch will crisp it up a little. Liquid
starch will
> crisp it up a lot.

Also... I like my linen soft, because then it doesn't wrinkle so easily. In
fact, wrinkles ease out just with body heat. Wouldn't starch make it hold
every single wrinkle?
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Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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>       I got that info by looking at lots and lots and lots of 18thC
> extant stockings.  The knit is dense and tight.  I haven't compared
> it directly to the stretch in bias cut fabric - I should do that.
>
>       Modern knit fabrics are very stretchy, much moreso that the
> original stockings.

Even early 20th century stockings - or hose -  are much less stretchy than
what we're used to (I remember reading about ladies having to be careful how
they stood because their nylons had a tendency to sag at the ankle). So it
doesn't surprise me that they would be less stretchy than we would expect.
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In a message dated 10/29/2003 1:53:10 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> I prefer ironing it when dry or almost
> dry than going through the pain of trying to get it dry by ironing when it's
> just spun from the washer.
> 

This is perfectly understandable. If you have a big hot industrial iron, then 
a spray bottle with water in it will do the trick.
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In a message dated 10/29/2003 2:00:11 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> Wouldn't starch make it hold
> every single wrinkle?
> 

To starch or not to starch.....depends on what you're using it for.
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Subject: [h-cost] Clocks (was Re: Hose/stockings)
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Say, while we're on the subject of stockings, does anyone have resources for embroidered or knit clock patterns for stockings, from the 16th century?


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> > I find that I have a timeline of costumes, that I can picture, and I
> > have to hang events on that.  So, I can put composers in the right order
> > by the style of wig, or authors by the clothes their characters wear.
> > Do other people do that? or am I just strange?

Oh don't worry, I do the same thing. This semester I have two literature
classes (Middle-ages to mid-17thC), one French (France), one English
(England). I realize now that a lot of authors I learned about in high
school, I have no idea where they belong because I can't remember the date -
but now, I don't so much remember the date as the "clothing century"...
Political events, literature, technological advancements, everything is
linked in my mind with costume evolution. And it makes sense: social changes
are often marked by fashion changes. I can't wait until we get to the 18th
and 19th century (next semester).
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Subject: Re: [h-cost] Request for resources
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In a message dated 10/28/2003 3:26:11 PM Eastern Standard Time, ckbonder@earthlink.net writes:

> Help! My local library only seems to have those awful victorian-based costume reference books on medieval and renassance clothing. I was complaining to the librarian and she said that if I could give her a list of the kind of stuff that I really wanted she would give the list to the library board when they decide what non-fiction books to get for next year.
> 
> So, ladies and gentlemen can you take a couple of minutes to email me off-list wittheh name and/or author of historical 
> costuming refernces that a library ought to have?

Or go ahead an answer on the list so that we can recommend them to our libraries as well!
Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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From: Jennifer Geard <geard@verso.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Half-globe cauls, a search
Date: Thu, 30 Oct 2003 09:48:39 +1300
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Hi All,

I dip into this list when I have time, so I might not have caught up 
with everything in this thread.

Robin wrote:
> This confusion didn't originate with Norris. I've seen a couple of
> 19th c. sources that present Philippa as being dressed in a sideless
> surcote; Norris almost certainly copied from one of them, not from
> the original statue. For that matter, Victoria's own costume for her
> Plantagenet Ball in 1842 was a sideless surcote of that type, and she
> wrote that her designer (the leading costume historian of the 19th
> century)  copied the design from Philippa's effigy. The effigy itself
> is in Westminster, so would have been readily available and
> recognizable. I have wondered whether there is another effigy
> involved, perhaps moved or lost or re-attributed since then, or if
> there's a severe restoration issue. There are a couple of 19th c.
> books on effigies I've been intending to track down to determine what
> they were seeing and calling "Philippa's" effigy at the time, but I
> haven't gotten around to it ... next time I travel to the right rare
> book room I'll do that.

I _think_ the images of Philippa in a sideless surcote with foliated 
crown are based on the wall paintings in St Stephen's Chapel, 
Westminster of Philippa, Edward and their children. The chapel was 
destroyed by fire in 1834: we're left with drawn copies of the images, 
but contemporaries of Victoria would have know the originals. 

There are elements of the drawn copies that are unusual for the time and 
place, such the shape of the plastrons on the sideless surcotes and the 
pleated mantles glued onto the surcotes. Because we're dealing with 
redrawings, we're not really sure how to tell how much is Ruritanian 
purple feathers syndrome (er, are people familiar with that old SCA 
article comparing an original source with a re-drawing?). They're still 
fascinating images. There are sections of the images in grainy B&W in 
Davenport, and a re-drawing of the re-drawing of the king in Houston's 
"Medieval Costume in England and France".

Cheers,
  Jennifer Geard

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] triple velvet?
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I sent a query to these folks as to what this textile was and this was 
their answer:

Hello Theresa,

Triple velvet is beautiful fabric that is a combination of acetate and 
nylon.  It is not rigid like cotton velvet and is not as drapey as rayon 
velvet.  It has a luxurious texture and depth and is one of out top 
selling velvets.  You are certainly welcome to order swatches of the 
colors of your choice for $1. each via our website.

We hope to provide you support in the near future.

Kind Regards,
Barb
Customer Care Representative
df@denverfabrics.com
www.denverfabrics.com

(Me again) Not sure if much light was shed.  The acetate thing makes my 
skin crawl, not to mention the color migration down the road.

Theresa Eacker


Mara Riley wrote:
> Looking at this -- 
> 
> http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=001&Category_Code=TripVel
> 
> What is triple velvet?
> 
> -- Mara
> 
> __________________________________
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> Exclusive Video Premiere - Britney Spears
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi.
I have noticed, that if i reply a post on this list, my post dont get back
to me.
I could do that a month ago.
Has anybody else had this problem?
What is going on.
It is the same with other lists i am on.

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] triple velvet?
Date: Wed, 29 Oct 2003 22:56:27 +0100
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Hi.
Apropos this topic.
When i was at that wonderfull silk fabric shop where i buyed my silk
duchesse satin, they showed me a taffeta that was much finer in quality than
i have seen before. They told me it was called a special name, but i dont
remember the name anymore.
Does anybody know?
Was it doubble taffeta?

Bjarne


----- Original Message -----
From: "Theresa Eacker" <theresa@misc.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 29, 2003 10:40 PM
Subject: Re: [h-cost] triple velvet?


> I sent a query to these folks as to what this textile was and this was
> their answer:
>
> Hello Theresa,
>
> Triple velvet is beautiful fabric that is a combination of acetate and
> nylon.  It is not rigid like cotton velvet and is not as drapey as rayon
> velvet.  It has a luxurious texture and depth and is one of out top
> selling velvets.  You are certainly welcome to order swatches of the
> colors of your choice for $1. each via our website.
>
> We hope to provide you support in the near future.
>
> Kind Regards,
> Barb
> Customer Care Representative
> df@denverfabrics.com
> www.denverfabrics.com
>
> (Me again) Not sure if much light was shed.  The acetate thing makes my
> skin crawl, not to mention the color migration down the road.
>
> Theresa Eacker
>
>
> Mara Riley wrote:
> > Looking at this --
> >
> >
http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=00
1&Category_Code=TripVel
> >
> > What is triple velvet?
> >
> > -- Mara
> >
> > __________________________________
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Subject: Re: [h-cost] Clocks (was Re: Hose/stockings)
Date: Tue, 28 Oct 2003 17:11:41 -0500
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> Say, while we're on the subject of stockings, does anyone have resources
for embroidered or knit clock patterns for stockings, from the 16th century?

Well... there's this site http://www.dabbler.com/ndlwrk/stocking.html
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] sew-on tudor jewels
To: Historical Costume <h-costume@indra.com>
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Dra, you evil ( but wonderful) , person!! I've been lusting after these sorts of items ever since I started costumning (30 some odd years ago!) Great to see that someone is reproducing these designs----even if all I can  afford to do  is drool all over the pictures, right now:(
Albra

Drea Leed <drea@nospam> wrote:

Everyone,

I just came across a site, http://www.tudorjewels.com , that has replica
"ouches" (sewn-on jewels in elaborate gold settings, like the ones you
often see on partlets, french hoods, and Tudor gown necklines). Whee!
Must buy.

Drea

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From h-costume-bounces@indra.com  Wed Oct 29 17:36:24 2003
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Subject: Re: [h-cost] Re: bobbin lace (and weaving) books
Date: Wed, 29 Oct 2003 22:35:09 -0000
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There are quite a lot of old books, catalogues, magazine articles and so on,
on lace and lacemaking available at
http://www.cs.arizona.edu/patterns/weaving/lace.html
which have been scanned for general use.
Many are from early in the last century, but there are also a lot from the
nineteenth century, and at least one item from 1802.

(There are also many similar scanned works on weaving and textiles at
http://www.cs.arizona.edu/patterns/weaving/books.html#L
which may be of interest.)

Linda Walton.

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Date: Wed, 29 Oct 2003 15:25:58 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] overdyeing commercial linen
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Cathy Raymond asks:

>On Tuesday 28 October 2003 05:52 pm, Rima wrote:
>>  >Also with linen, don't dry it in the drier. Iron dry the damp. just spun
>>  >fabric from the washer. Spay starch will crisp it up a little.
>>  >Liquid starch will
>>  >crisp it up a lot.
>>
>>  OTOH, if you want to make your linen silky soft and drapey, take it
>>  out of the washer, fold it up, and stick it in the FREEZER.   When
>>  it's a solid block, take it out and iron it with a really hot iron.
>
>Uh, before or after you get it thawed enough to unfold?  :-)

Yep.  I know it sounds crazy....   use the iron to start thawing it. 
It really does work.   Just put a good movie on your DVD and iron 
patiently...

Rima
DVD player is the best accessory I have for my sewing machine!
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Date: Wed, 29 Oct 2003 15:29:23 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] overdyeing commercial linen
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>Does anyone know the origin of the phrase "knife pleats"?  I assumed it was
>because the crease is sharp.  I was having a hard time keeping each pleat
>the same exact size and shape.  So got an old rounded table knife and used
>it to fold over the fabric while pinning.  It made perfect, even pleats.
>I'm self-taught so don't know correct practices but has anyone else ever
>made knife pleats using a knife?  Is that the origin of the phrase?
>
>P.S.  Robin, thanks for the post on how to set up a dye test.  I'm going to
>try that next time, rather than crossing my fingers and hope it works.
>
>Marsha

Me!  Me!

Also self-taught.... but stuff like this just makes sense....  Rulers 
work great too, for wider pleats...

Rima
love those multi-tasker tools ;-D
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Date: Wed, 29 Oct 2003 15:32:41 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] sew-on tudor jewels
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>Everyone,
>
>I just came across a site, http://www.tudorjewels.com , that has replica
>"ouches" (sewn-on jewels in elaborate gold settings, like the ones you
>often see on partlets, french hoods, and Tudor gown necklines).  Whee!
>Must buy.
>
>Drea

Oh, thanks a LOT!  ;-/

My credit card just spontaneously combusted.    ;-D

Rima
in BIG trouble now!
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Subject: [h-cost] Moire silk source
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Does anyone have a good online source for moire silk? 

-Marion
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Date: Wed, 29 Oct 2003 16:17:46 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Moire silk source
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>Does anyone have a good online source for moire silk?
>
>-Marion

Well, I was gonna send you to 
http://www.silkconnection.com/products/fabric/silk/ , but I'm shocked 
to see that they don't have a moire!

OTOH, they have just about everything else at pretty good prices (by 
the bolt) and everything ready for dying....

Rima
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Drea, you ARE bad - pretty pretty!

I notice on the Pewter Replicas order form that he does special orders -
think he'd consider adding dress hooks to his repertoire?

Allison T.

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Subject: [h-cost] Re: 16th cent clocks
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At 5:22 PM -0700 10/29/03, h-costume-request@indra.com wrote:
>Say, while we're on the subject of stockings, does anyone have 
>resources for embroidered or knit clock patterns for stockings, from 
>the 16th century

Hi
The Plymouth Plantation booklet put out by the Mass Weavers Guild has 
a clock pattern. The guage of the knitting is 5 stitches to the 
inch...so I'm not sure if the clocks are an adaptation or a accurate 
pattern. Hopefully those that are much more familiar with socks n 
clocks can comment.

Ta
Carol, row 57!!! Yeah!!! So how deep does the bit that folds over the 
garter need to be??
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Date: Wed, 29 Oct 2003 16:56:48 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] tricorn hat?
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At 03:43 AM 10/29/2003 -0800, you wrote:
>Anyway, I put the garment shell on to try out the fit and see what it'd
>look like with my knee-high buckle boots.  And the thought that came to my
>head was, "With a poufy shirt and a tricorn hat, I could be the Music Pirate,
>dread scourge of the RIAA!"  I may have to do this costume sometime.  But
>I wanted the tricorn hat *before* I got this idea.  I just love weird and
>lavishly trimmed hats.


Oh my goodness!! I want to see pics of this when you are done. My hubby 
would just enjoy it! He is so anti-RIAA, and he doesn't even download 
music, just on the principle of the whole thing.

And I know of a guy at faire who steams tricorn hats from what seems like 
nicely felted bases. Check with him.

The Hat Matters Co.
Thern Martenson, Proprietor
485 Chelsea Drive, Henderson, NV 89014
(702) 433-6002

He doesn't have a web site or email address listed on his card, sorry. But 
he is a really nice guy, so if you can't find anything online, give him a 
phone call.

Kimiko


Kimiko Small
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Subject: Re: [h-cost] On the topic of dyeing...
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At 10:04 AM 10/29/2003 -0500, you wrote:
>I'd add green to mute the colour, then look at what you get and decide
>whether you want it bluer or not.  Choose a green from the bluish end of
>the spectrum if you think you want to head towards
>purplish-wine-burgundy rather than muted-dark-red-burgundy.
>
>K.


Thank you Kirrily, I appreciate the suggestion. I have been going back and 
forth on if I want it a deep red burgundy, or more a purplish one. I think 
those test pots will be the answer.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Wed, 29 Oct 2003 17:13:48 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] triple velvet?
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At 01:40 PM 10/29/2003 -0800, you wrote:
>Hello Theresa,
>
>Triple velvet is beautiful fabric that is a combination of acetate and 
>nylon.  It is not rigid like cotton velvet and is not as drapey as rayon 
>velvet.  It has a luxurious texture and depth and is one of out top 
>selling velvets.  You are certainly welcome to order swatches of the 
>colors of your choice for $1. each via our website.
>
>We hope to provide you support in the near future.


Hi Theresa,

It sounds like so much marketing hype to me. I have never found acetate and 
nylon velvets to be good for anything clothing based. I was hoping it was 
more like the shaggy velvet I saw at Hancock's recently, which would be 
interesting as a fur-like trimming, if it hadn't come in a bright pink.

ah well, I guess we keep on looking.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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Date: Wed, 29 Oct 2003 17:10:32 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] Sew on Tudor Jewels
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At 10:54 AM 10/29/2003 -0700, you wrote:
>Hello!
>
>After lurking for weeks, this is my first official post :)
>I think these replicas are beautiful, but take into consideration that 
>diamonds were often painted black in portraiture (due to lack of 
>complicated faceting and less light being refracted). So a lot of these 
>replicas that are produced using Onyx are inaccurate. But they do have 
>lovely things! *drool*
>
>Victoria Ruhl
>Jewelry fanatic and wanna-be costumer.


Hi Victoria,

Welcome to the group!

I had wondered the same thing as you. I would love to have them in a 
crystal or CZ or something, but it is so hard to find the right cut in 
modern stones. I have been searching Fire Mountain gems trying to find 
something suitable, and other than a cabochon or an upside down emerald 
cut, I am not sure what would work.

But at least I now have a great site to understand the jewelry from, and 
hope that the owners answer Drea's question in the affirmative. I have been 
wanting the jewels for Jane Seymour's style for many years, and now they 
may be in reach.

Kimiko


Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From h-costume-bounces@indra.com  Wed Oct 29 20:30:32 2003
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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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Subject: Re: [h-cost] re: tudorjewels.com
Date: Thu, 30 Oct 2003 01:22:30 -0000
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Steve Milligan whose site this is is an excellent craftsman I have had the
Garnet & pearl cross illustrated for several years now as have many
re-enactors here in the UK.

Btw if you are wanting dress hooks, buckles or other special metal orders it
may be worth contacting Andrew Clark at www.militarymetalwork.co.uk as he
produces one offs and is now doing earlier periods although these aren't
really shown on his site yet I buy everything I need from him
Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716
----- Original Message ----- 
From: "A.Thurman" <athurman@cybergal.com>
To: "Historic Costume List (E-mail)" <h-costume@indra.com>
Sent: Wednesday, October 29, 2003 10:36 PM
Subject: [h-cost] re: tudorjewels.com


> Drea, you ARE bad - pretty pretty!
>
> I notice on the Pewter Replicas order form that he does special orders -
> think he'd consider adding dress hooks to his repertoire?
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Wed Oct 29 20:51:31 2003
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Date: Wed, 29 Oct 2003 17:42:07 -0800 (PST)
From: Mara Riley <corbiegirl@yahoo.com>
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Subject: [h-cost] 
	Stays Fitting/Gown Draping Workshop, January 17-18, 2004 at Old
	Bedford Village
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Hey, folks,

I'm going to be doing a weekend workshop on fitting stays and draping
gowns at Old Bedford Village the weekend of January 17-18.  That's a
three-day weekend, so hopefully people will find that convenient.

Information at:
http://www.marariley.net/workshops/flyer.pdf

Regards,
Mara

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Bjarne,

You might want to check your settings for the list.  That is one of the
options.

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


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Date: Wed, 29 Oct 2003 23:34:54 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] Clocks (was Re: Hose/stockings)
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>Say, while we're on the subject of stockings, does anyone have resources
>for embroidered or knit clock patterns for stockings, from the 16th century?

      The dabbler page is based on the Gunnister hose, which are 
17thC.  There's a German stocking history page, and I have some of 
the URLs below.  Many of the extant stockings shown are in English 
museums - I recognize them also from Jeremy Farrell's _Socks & 
Stockings_.

      Some are early 17thC, and one pair may be late 16thC.  There's 
not a lot prior to the 17thC that I can find as far as clocking 
designs go.


http://www.deutsches-strumpfmuseum.de/geschichte/geschichte_07.htm
Yellow stockings approx. 1600-1620, in the Nottingham Costume Museum

http://www.deutsches-strumpfmuseum.de/geschichte/geschichte_08.htm
Gold silk and gold & silver metal thread, late 16th or early 17thC. 
Gussets are defined, but no clicking around the gusset - there's an 
overall pattern to the stockings.

http://www.deutsches-strumpfmuseum.de/geschichte/geschichte_09.htm
Boothose (with the wide tops) 1650 - 80, V&A Museum
B&W folded stocking, mid-17thC
Salmon colored stockings, embroidered, 17thC ?
Linen bias cut cloth stockings, mid 17thC
Pink stockings, embroidered, 17thC ?


      Farrell's book includes a portrait of Richard Sackville, 3rd 
Earl of Dorset, painted 1613.  He has very elaborate embroidered 
clocking on his white stockings.

      -Carol
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] overdyeing commercial linen
Date: Wed, 29 Oct 2003 23:59:32 -0500
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On Wednesday 29 October 2003 06:25 pm, Rima wrote:
> Cathy Raymond asks:
> >On Tuesday 28 October 2003 05:52 pm, Rima wrote:
> >>  >Also with linen, don't dry it in the drier. Iron dry the damp. just
> >>  > spun fabric from the washer. Spay starch will crisp it up a little.
> >>  > Liquid starch will
> >>  >crisp it up a lot.
> >>
> >>  OTOH, if you want to make your linen silky soft and drapey, take it
> >>  out of the washer, fold it up, and stick it in the FREEZER.   When
> >>  it's a solid block, take it out and iron it with a really hot iron.
> >
> >Uh, before or after you get it thawed enough to unfold?  :-)
>
> Yep.  I know it sounds crazy....   use the iron to start thawing it.
> It really does work.   Just put a good movie on your DVD and iron
> patiently...

Thanks.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Date: Thu, 30 Oct 2003 00:53:35 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: [h-cost] Re: 16th cent clocks
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>At 5:22 PM -0700 10/29/03, h-costume-request@indra.com wrote:
>>Say, while we're on the subject of stockings, does anyone have 
>>resources for embroidered or knit clock patterns for stockings, 
>>from the 16th century
>
>Hi
>The Plymouth Plantation booklet put out by the Mass Weavers Guild 
>has a clock pattern. The guage of the knitting is 5 stitches to the 
>inch...so I'm not sure if the clocks are an adaptation or a accurate 
>pattern. Hopefully those that are much more familiar with socks n 
>clocks can comment.

Hi Carol,

      The Plymouth Plantation pattern is also based on the Gunnister 
hose.  Most of the items in the book are patterned at a larger gauge 
than the originals, adapted for the modern knitter.

      -Carol
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Subject: Re: [h-cost] Sixth Century Saxon
References: 
	<3F9939C2.50302@earthlink.net><003e01c39a43$a93decc0$cb6afea9@shooie>
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Thanks!

Hey, we're in the right century!

Anne

Melanie Wilson wrote:
> www.maering.co.uk my site 5th C Anglian
> 
> Mel
> 
> This e-mail, and any attachment, is confidential. If you have received
> it in error, please delete it from your system, do not use or disclose
> the information in any way, and notify me immediately. The contents of
> this message may contain personal views which are not the views of the
> Company, unless specifically stated.
> 
> 
> 
> _______________________________________________
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> 


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Subject: Re: [h-cost] overdyeing commercial linen
Date: Thu, 30 Oct 2003 07:42:21 -0500
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One of the best gadgets I've found for accurate pleat (or button hole )
marking is an expandable measuring device found in the Clotilda notions
catalogue.
Kathleen
----- Original Message ----- 
From: "Rima" <rima@anet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, October 29, 2003 6:29 PM
Subject: Re: [h-cost] overdyeing commercial linen


> >Does anyone know the origin of the phrase "knife pleats"?  I assumed it
was
> >because the crease is sharp.  I was having a hard time keeping each pleat
> >the same exact size and shape.  So got an old rounded table knife and
used
> >it to fold over the fabric while pinning.  It made perfect, even pleats.
> >I'm self-taught so don't know correct practices but has anyone else ever
> >made knife pleats using a knife?  Is that the origin of the phrase?
> >
> >P.S.  Robin, thanks for the post on how to set up a dye test.  I'm going
to
> >try that next time, rather than crossing my fingers and hope it works.
> >
> >Marsha
>
> Me!  Me!
>
> Also self-taught.... but stuff like this just makes sense....  Rulers
> work great too, for wider pleats...
>
> Rima
> love those multi-tasker tools ;-D
> _______________________________________________
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Date: Thu, 30 Oct 2003 09:43:40 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] re: tudorjewels.com
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Would be cool if he did...I approached Raymond's quiet press about making
replica dress hooks a while back, and never did hear back from him. Thanks
for jogging my memory.  I'll have to check with him.

Drea


On Wed, 29 Oct 2003, A.Thurman wrote:

> Drea, you ARE bad - pretty pretty!
>
> I notice on the Pewter Replicas order form that he does special orders -
> think he'd consider adding dress hooks to his repertoire?
>
> Allison T.
>
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <102920032354.77.1b3a@att.net>
Subject: Re: [h-cost] Moire silk source
Date: Thu, 30 Oct 2003 16:17:56 +0100
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Hi.
As far as i have found out, real silk moire is not made any more.
You can only get man made fiber moire today.

Bjarne


----- Original Message ----- 
From: <mmcnealy@att.net>
To: <h-costume@net.indra.com>
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Subject: [h-cost] Moire silk source


> Does anyone have a good online source for moire silk? 
> 
> -Marion
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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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Subject: [h-cost] silk taffeta source
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Does anyone have a source for heavy silk taffeta? I've tried Thai and 
Rupert, Gibb.,etc. but am looking for something that is about as stiff 
as heavy acetete taffeta.

- Hope

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] silk taffeta source
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On Thu, 30 Oct 2003, Hope Greeenberg wrote:

> Does anyone have a source for heavy silk taffeta? I've tried Thai and
> Rupert, Gibb.,etc. but am looking for something that is about as stiff
> as heavy acetete taffeta.

Some of the stuff I've seen at Fashion Fabrics' retail store is pretty
stiff. The website has some taffeta:

http://www.fashionfabricsclub.com/home/catalog_items.cfm?Query=silk+taffeta+100%25

Prices are great -- around $7.50 to $10/yard for 100% silk taffeta.
However, there's no way to tell from the description how stiff it is, and
the people who answer the phones at the online store aren't usually on top
of the fabric.

I'd suggest you call Cathy at the retail store, which will have a
different selection from the website, and she knows every bolt. These will
be one-of-a-kind bolts, some short, some longer, and once it's gone it's
gone. Her number is 314-872-1819. Tell her exactly what you need (be
prepared to state color preferences) and that you'd like to buy it over
the phone and have it shipped. (And tell her I sent you.) I don't think
she'll do swatches, but she can describe what's there at any given moment.

She is often manning the shop alone, so if she's busy with a customer,
offer to call back later, and once you've told her what you're looking
for, offer to call back again after she's had a time to look.

--Robin

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From: kat@grendal.rain.com
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Date: Thu, 30 Oct 2003 08:00:03 -0800
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Subject: Re: [h-cost] tricorn hat?
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> And I know of a guy at faire who steams tricorn hats from what seems
> like nicely felted bases. Check with him.
> 
> The Hat Matters Co.
> Thern Martenson, Proprietor
> 485 Chelsea Drive, Henderson, NV 89014
> (702) 433-6002
> 
> He doesn't have a web site or email address listed on his card, sorry.
> But he is a really nice guy, so if you can't find anything online,
> give him a phone call.

Thern is a very good source.

He used to have a website but it got cybersquatted. The person who 
currently calls herself "Hat Matters" is *not* Thern.

Thern is a professional hatter. I've worked with him at some events. 
(He's not doing so much on site steaming, but an order would be a 
different story. Needs a proper hat size, as he tends not to do 
"generics.")

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Thu Oct 30 13:19:59 2003
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Subject: [h-cost] pleating... was: overdyeing commercial linen
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Greetings,
I just got done cartridge pleating my Snow White dress (Yes, excessive 
but it's a trial run before  cut into the GOOD fabric for my Moretto 
gown, and hey, I get to use the dress for Halloween.  lol).  I used 
quarter inch gingham to face the pleated edge and then use the gingham 
as a guide.  Worked like a dream and it gives a nice weight to the 
cartridge pleats.
Althea

On Thursday, October 30, 2003, at 04:42 AM, Lloyd Mitchell wrote:

> One of the best gadgets I've found for accurate pleat (or button hole )
> marking is an expandable measuring device found in the Clotilda notions
> catalogue.
> Kathleen
> ----- Original Message -----
> From: "Rima" <rima@anet.net>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Wednesday, October 29, 2003 6:29 PM
> Subject: Re: [h-cost] overdyeing commercial linen
>
>
>>> Does anyone know the origin of the phrase "knife pleats"?  I assumed 
>>> it
> was
>>> because the crease is sharp.  I was having a hard time keeping each 
>>> pleat
>>> the same exact size and shape.  So got an old rounded table knife and
> used
>>> it to fold over the fabric while pinning.  It made perfect, even 
>>> pleats.
>>> I'm self-taught so don't know correct practices but has anyone else 
>>> ever
>>> made knife pleats using a knife?  Is that the origin of the phrase?
>>>
>>> P.S.  Robin, thanks for the post on how to set up a dye test.  I'm 
>>> going
> to
>>> try that next time, rather than crossing my fingers and hope it 
>>> works.
>>>
>>> Marsha
>>
>> Me!  Me!
>>
>> Also self-taught.... but stuff like this just makes sense....  Rulers
>> work great too, for wider pleats...
>>
>> Rima
>> love those multi-tasker tools ;-D
>> _______________________________________________
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>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Subject: [h-cost] Re. silk taffeta
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Hope

I get a lot of silk taffeta at B&J in New York.  They don't have a web site
yet, but if you call them, they'll send swatches. They're always very
pleasant. (212) 354-8150.

Martha





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In lists.sca.h-costume, you wrote:
> Say, while we're on the subject of stockings, does anyone have resources for embroidered or knit clock patterns for stockings, from the 16th century?

I know one person in the SCA who has recreated Eleanor of Toledo's red
stockings, and I know she's also knitted hose with clock patterning.
She might have the details.  Her details are here:
http://www.sca.org.au/laurels/biogs/margie/margie.htm

I have another friend who was laurelled mostly for SCA period knitting,
her details are here:
http://www.sca.org.au/laurels/biogs/rohese/rohese.htm

I figure their email addresses are publicly available, so feel free to
drop them a line and ask them.

K.
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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moire silk source
Date: Thu, 30 Oct 2003 20:06:51 +0000
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Well darn! Then, I guess I will just go with silk taffeta instead of moire, 
as making a 16th century dress out of poly or acetate is not personally 
acceptable. 

In case your wondering what the project is, go here.


http://www.kfki.hu/~arthp/html/d/durer/2/11/2/01dresse.html

Close up, http://www.kfki.hu/~arthp/art/d/durer/2/11/2/01dresse.jpg


You can see the wattered silk of the dress by the hem of her cloak. 

-Marion 

> Hi.
> As far as i have found out, real silk moire is not made any more.
> You can only get man made fiber moire today.
> 
> Bjarne
> 
> 
> ----- Original Message ----- 
> From: <mmcnealy@att.net>
> To: <h-costume@net.indra.com>
> Sent: Thursday, October 30, 2003 12:54 AM
> Subject: [h-cost] Moire silk source
> 
> 
> > Does anyone have a good online source for moire silk? 
> > 
> > -Marion
> > _______________________________________________
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> 
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Subject: [h-cost] Re: derby ribs/height of socks
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Hi
I got the caption of the 1750 (the year is spot on...) English socks 
from the sock museum page and ran it thru a Babble fish site...

>To the simple cloth skirt, close knee trousers were carried for the
>frack, instead of fine silk socks carried one "derby ribs" - serrated
>Woll or cotton socks, which underlined the simplicity of the new
>clothes. English "derby ribs" serrated cotton socks around 1750


OK so from this and the accompanying picture, there were ribbed 
socks??? Was this a local fashion or did it make it across the Pond??

Also how high up on the thigh did 1750-1790 SE PA area socks come?? I 
really thought it would take me lots longer to knit this far, but now 
they are over the knee and almost down to where they need to do the 
leg decrease. I'm guessing maybe a hands breadth up the thigh looking 
at the pictures... which gets it over the knee 'bump'...

Thanks for all the help!

ta
Carol, with a knee warmer rapidly turning into a sock!
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On Thu, 30 Oct 2003 mmcnealy@att.net wrote:

> Well darn! Then, I guess I will just go with silk taffeta instead of
> moire, as making a 16th century dress out of poly or acetate is not
> personally acceptable.

When I've absolutely needed a moire to reproduce a period image, I've used
rayon moire. Rayon is not plastic like poly; it's a processed natural
fiber that was designed to be a silk substitute. In most aspects (the
notable exception being strength/durability) it makes a decent facsimile.
It will breathe and drape like silk. Rayon brocades also make reasonable
substitutes for now-unavailable silk brocades.

--Robin


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Place an order of $50 or more by December 18th and Dover will give you
free shipping.

http://www.doverpublications.com/holidayfreeship4/

To take advantage of this free shipping offer, just drop the 
following code number in box 2 of their check-out screen: EHP-227

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						...eliz

-- 
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Clocks (was Re: Hose/stockings)
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>Say, while we're on the subject of stockings, does anyone have resources 
>for embroidered or knit clock patterns for stockings, from the 16th century?

I'd go first to Rutt's book on the history of hand knitting, second to 
Davenport's costume book, and third to one of those repro 16th century 
embroidery/needlework books.  Some older patterned-stocking designs use 
patterns made of knit and purl stitches only, rather than any of the more 
complicated stitches.  Also, I think that duplicate stitch is period for 
decorating clocks on stockings, but I can't support this assumption off the 
top of my head.

Remember to chart knitting on wide-rectangle-grid paper rather than regular 
squared paper, as knit stitches are wider than they are tall.  (There used 
to be some freeware or shareware knitting-pattern-generating software using 
suitable rectangular grids.)

OT - The knitting book "Tap-Dancing Lizards" has many fun 
one-color-on-background images charted on rectangular grids, even tho none 
of these are actually period designs.  The same folks put out another 
similar book (which, of course, I can't find when I look) with designs 
inspired by Celtic, Pagan, and other religious and cultural traditions, 
also lots of fun but not period to knit into socks.

        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: derby ribs/height of socks
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>Also how high up on the thigh did 1750-1790 SE PA area socks come?? I 
>really thought it would take me lots longer to knit this far, but now they 
>are over the knee and almost down to where they need to do the leg 
>decrease. I'm guessing maybe a hands breadth up the thigh looking at the 
>pictures... which gets it over the knee 'bump'...

Are you knitting from the toe up?  I always thought sox were knitted from 
the top down.  Do you have documentation on toe-up knitting?  I'd love to 
see it, as it would make several things easier.

>Carol, with a knee warmer rapidly turning into a sock!


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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Date: Thu, 30 Oct 2003 22:00:52 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: derby ribs/height of socks
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     Derby ribs are machine-knit ribs.  If I recall correctly, the Derby ribber 
was patented in the mid 18thC, but probably took a few more years to become 
widespread.  Handknit ribbing was always *possible* to do.

     Ribbed stockings existed, and I'm thinking they were worn by men because 
I've seen them described as men's in ship inventories but not described as 
women's.

     What they did not seem to have until the early 19thC are stockings with 
ribbing at the top only.

     In fact, I've seen ribbed hose that are plain knit at the top, the portion 
that would be covered by a man's breeches.

     Do you have the URL of that specific part of the German web page?  I'm 
curious what they're showing as Derby ribs.  Many of the pictures seem to be 
from Jeremy Farrell's _Socks & Stockings_.  Farrell is the curator of the 
Nottingham costume museum.

     As far as how high stockings go, maybe a hand and a half?  There are a few 
paintings of ladies tying their garters which show the length.

     -Carol


fastusminimus <cahuff@mindspring.com> said:

> Hi
> I got the caption of the 1750 (the year is spot on...) English socks 
> from the sock museum page and ran it thru a Babble fish site...
> 
> >To the simple cloth skirt, close knee trousers were carried for the
> >frack, instead of fine silk socks carried one "derby ribs" - serrated
> >Woll or cotton socks, which underlined the simplicity of the new
> >clothes. English "derby ribs" serrated cotton socks around 1750
> 
> 
> OK so from this and the accompanying picture, there were ribbed 
> socks??? Was this a local fashion or did it make it across the Pond??
> 
> Also how high up on the thigh did 1750-1790 SE PA area socks come?? I 
> really thought it would take me lots longer to knit this far, but now 
> they are over the knee and almost down to where they need to do the 
> leg decrease. I'm guessing maybe a hands breadth up the thigh looking 
> at the pictures... which gets it over the knee 'bump'...
> 
> Thanks for all the help!
> 
> ta
> Carol, with a knee warmer rapidly turning into a sock!

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Date: Thu, 30 Oct 2003 22:08:17 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Clocks (was Re: Hose/stockings)
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Carolyn Kayta Barrows <kayta@frys.com> said:
> Also, I think that duplicate stitch is period for 
> decorating clocks on stockings, but I can't support
> this assumption off the top of my head.

     Plating is a technique used on frameknit hose, and the technique seems to 
have ended around 1750.  A second yarn was placed over the primary yarn (not 
substituted but knit with it) to make the design.  You could use a duplicate 
stitch to fake plating, but I have not seen any hand done duplicate-stitched 
stockings.  For some hand-embellished hose, a horizontal stitch is taken across 
the knit stitch.  This resembles a purl stitch when done in the same color.  
Depending on the design, the embroidered stitch might go across 3 or 5 knit 
stitches.  I see this after 1750.  Alsothere is regular old embroidery in a 
multitude of stitches, sometimes with a motif stitched onto vellum and sewn 
onto the stockings, with other stitches added directly to the stocking.

> Remember to chart knitting on wide-rectangle-grid paper rather than regular 
> squared paper, as knit stitches are wider than they are tall.  (There used 
> to be some freeware or shareware knitting-pattern-generating software using 
> suitable rectangular grids.)

     Actually I think they're taller than they are wide, but they are 
definitely not even height to width!

> OT - The knitting book "Tap-Dancing Lizards" has many fun 
> one-color-on-background images charted on rectangular grids,

     That's a fun book!

     -Carol

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Moire silk source
Date: Thu, 30 Oct 2003 17:14:39 -0500
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Robin wrote: 
<<Rayon brocades also make reasonable substitutes for now-unavailable
silk brocades.>>

While I agree with your assessment of rayon brocades, Robin (as much as
it pains me to use rayon), I have to let you know that 100% silk
brocades ARE indeed available.  You have to really keep an eye out for
them, but I've found some over the years.  About 7 years ago, Thai Silks
was selling two non-Oriental 100% silk brocades that I wish I would have
bought bolts of.  And just last year, I acquired some black and silver
and brown and gold silk brocade from a quilter's supply.

So they're available (unlike real silk moiré).  Just not predictably so.

Kass


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Moire silk source
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On Thu, 30 Oct 2003, Kass McGann wrote:

> Robin wrote: 
> <<Rayon brocades also make reasonable substitutes for now-unavailable
> silk brocades.>>
> 
> While I agree with your assessment of rayon brocades, Robin (as much as
> it pains me to use rayon), I have to let you know that 100% silk
> brocades ARE indeed available.  

Yes, and much more so now than 20 years ago, when I first turned to rayon
substitutes. Forgive my poor wording above. I wasn't meaning to suggest
that silk brocades are not available at all, but simply that they are
often not available in the colors or patterns you might need. Being able
to choose from rayons as well (widely available in home-dec fabrics)
expands your options dramatically.

Also, when available, silk brocades are still prohibitively expensive for
many of us. Knowing that rayon brocades will function well enough for
repro purposes can make a project possible if budget is a factor.

Of course I'll work in the real thing if I have the choice. Rayon for silk
is about the only substitution I'll tolerate.  I refuse to use any of
today's wool substitutes, even though they look and feel exactly right,
because they don't *behave* right. And don't get me started on
"linen-look" fabrics ;-)

--Robin


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Moire silk source
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Robin wrote:
<<Yes, and much more so now than 20 years ago, when I first turned to
rayon
substitutes. Forgive my poor wording above. I wasn't meaning to suggest
that silk brocades are not available at all, but simply that they are
often not available in the colors or patterns you might need. Being able
to choose from rayons as well (widely available in home-dec fabrics)
expands your options dramatically.>>

Gotcha.  Just making sure you knew they were out there, sometimes,
somewhere.  =)

Robin also wrote:
<<Also, when available, silk brocades are still prohibitively expensive
for
many of us. Knowing that rayon brocades will function well enough for
repro purposes can make a project possible if budget is a factor.>>

Just for comparison, both the brocades I found were about $18 a yard.
When I found the Thai Silks brocades seven years ago, this kept me from
buying it.  But when I found the brocade last year, I bought every yard
she had.  Funny how time changes things...

Then Robin said:
<<Of course I'll work in the real thing if I have the choice. Rayon for
silk
is about the only substitution I'll tolerate.  I refuse to use any of
today's wool substitutes, even though they look and feel exactly right,
because they don't *behave* right. And don't get me started on
"linen-look" fabrics ;-)>>

Amen Sister!

Kass

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Moire silk source
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On Thu, 30 Oct 2003, Kass McGann wrote:

> Just for comparison, both the brocades I found were about $18 a yard.
> When I found the Thai Silks brocades seven years ago, this kept me
> from buying it.  But when I found the brocade last year, I bought
> every yard she had.  Funny how time changes things...

Hmm. Then I'd better not tell you about Istok.

http://www.istok.net/

Click on "Vestment Fabrics."

Warning: I suspect they use the word "silk" loosely. But they offer
samples. I've seen a friend's sample set, and there would be enough to
subject a part of a swatch to a bleach test to find out whether a specific
brocade is the real thing. They also have an email address for product
inquiries, but even the best retailer can be misled about fiber content --
tests are best.

I'd love to know if anyone here has actually ordered any of these silk
brocades.

--Robin

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Subject: Re: [h-cost] Was Clocks now Graph Paper
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CarolynKayta wrote:
 (There used
> to be some freeware or shareware knitting-pattern-generating software
using
> suitable rectangular grids.)

Here's shareware for graph paper.  It also does calendars, musical notation
paper, guide lines for writing; just bunches of stuff.  The graph paper is
customizable, although I haven't tried that.

http://www.mathematicshelpcentral.com/graph_paper.htm

                  -Helen/Aidan


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Subject: Re: [h-cost] silk taffeta source
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Heather (on this list) recently bought some of the peach (and seafoam?)
taffeta from Fashion Fabrics Club, and it's actually much lighter than most
taffetas I've handled.

Just an FYI!

- Kendra
----- Original Message -----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, October 30, 2003 8:18 AM
Subject: Re: [h-cost] silk taffeta source


> Some of the stuff I've seen at Fashion Fabrics' retail store is pretty
> stiff. The website has some taffeta:
>
>
http://www.fashionfabricsclub.com/home/catalog_items.cfm?Query=silk+taffeta+
100%25

<snip>

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In a message dated 10/30/2003 9:14:10 PM Eastern Standard Time, 
kendra@tweedlebop.com writes:

> Heather (on this list) recently bought some of the peach (and seafoam?)
> taffeta from Fashion Fabrics Club, and it's actually much lighter than most
> taffetas I've handled.
> 

I've seen some real 1840s gowns somewhere that were very light taffetas. And 
some 1870's too [Also just an FYI.] So this could be good.

Now if we could just find some of those springy wool/silk blends from the 
1840s......

I also remember this great ca 1876 skirt of very light shiny silk twill. [It 
was kaki in color with one of those typical asymmetrical drapes that started 
with a horizontal ruffle on one hip. The back side of the ruffle, which you 
caught a glimpse of, was lined in burgundy taffeta. I wonder what the [lost] 
bodice looked like.] Didn't they have silk twill taffeta on the site too? Or was 
that Silk Connections?

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From h-costume-bounces@indra.com  Thu Oct 30 23:10:14 2003
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Date: Thu, 30 Oct 2003 23:08:01 -0500
To: Historical Costume <h-costume@indra.com>
From: Carol Kocian <aquazoo@patriot.net>
Subject: [h-cost] Re: derby ribs/height of socks
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      The photo Carol Huff cites is on the web page
http://www.deutsches-strumpfmuseum.de/geschichte/geschichte_10.htm

      And it's also on page 31 of Socks & Stockings.  They're silk 
hand knit ribbed hose in the collection of the V&A.  Since they're 
hand knit, they are not Derby ribs - Derby ribs are machine knit.

      So, while there are 18thC ribbed stockings, I don't know how 
much we can trust the German site for information.

      -Carol


>Hi
>I got the caption of the 1750 (the year is spot on...) English socks 
>from the sock museum page and ran it thru a Babble fish site...
>
>>To the simple cloth skirt, close knee trousers were carried for the
>>frack, instead of fine silk socks carried one "derby ribs" - serrated
>>Woll or cotton socks, which underlined the simplicity of the new
>>clothes. English "derby ribs" serrated cotton socks around 1750
>
>
>OK so from this and the accompanying picture, there were ribbed 
>socks??? Was this a local fashion or did it make it across the Pond??
>
>Also how high up on the thigh did 1750-1790 SE PA area socks come?? 
>I really thought it would take me lots longer to knit this far, but 
>now they are over the knee and almost down to where they need to do 
>the leg decrease. I'm guessing maybe a hands breadth up the thigh 
>looking at the pictures... which gets it over the knee 'bump'...
>
>Thanks for all the help!
>
>ta
>Carol, with a knee warmer rapidly turning into a sock!
>_______________________________________________
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Ooh, Robin, you are WICKED!!!!!!!

I did not need to see that ...

Gail Finke


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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Was Clocks now Graph Paper
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>  (There used
> > to be some freeware or shareware knitting-pattern-generating software
>using
> > suitable rectangular grids.)
>
>Here's shareware for graph paper.  It also does calendars, musical notation
>paper, guide lines for writing; just bunches of stuff.  The graph paper is
>customizable, although I haven't tried that.
>
>http://www.mathematicshelpcentral.com/graph_paper.htm

Knitting needs a rectangular grid, not a square one.  But thanx anyway.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

              //// \\\
             ////-@@\\\
            ((((   7 )))
             (((  <> ))))
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"How Important is Accurate Reproduction Clothing?"
http://www.alhfam.org/his.clo.news/f98ahcc.html

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From h-costume-bounces@indra.com  Fri Oct 31 09:03:12 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] link: "Accurate Reproduction Clothing"
Date: Fri, 31 Oct 2003 09:01:16 -0500
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Can't really argue with anything they have to say.  But I really wish
more sites would buy decent clothing for their docents and not let them
go around looking like unmade beds in "English bodices" and muffin caps.
I think it destroys the credibility of the site.  Dare I say it?  Better
for them to be dressed in a modern uniform than bad "reproduction
clothing".

Kass

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of J. Kale
Sent: 31 October 2003 7:55 AM
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Subject: [h-cost] link: "Accurate Reproduction Clothing"

"How Important is Accurate Reproduction Clothing?"
http://www.alhfam.org/his.clo.news/f98ahcc.html

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From h-costume-bounces@indra.com  Fri Oct 31 09:29:16 2003
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Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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In a message dated 10/31/2003 9:01:51 AM Eastern Standard Time, 
historian@reconstructinghistory.com writes:

> Can't really argue with anything they have to say.

I can...

A woman in a "Victorian" gown on a tour of a historic house is more of a 
distraction than a benefit. The focus of the interpretation is on the furniture or 
the architecture or the family who lived there. The rooms are fabrications 
anyway, due to the passages needed to accommodate the public. Besides, the guide 
is in danger of knocking things off tables with her skirts.

Pul-eeze! Only if she's a complete cluts!
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From h-costume-bounces@indra.com  Fri Oct 31 09:43:19 2003
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Subject: Re: [h-cost] Moire silk source
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In a message dated 10/30/2003 5:15:20 PM Eastern Standard Time, 
historian@reconstructinghistory.com writes:
You have to really keep an eye out for
them, but I've found some over the years. 
I, too, scored a piece of real silk brocade about 3 years ago, when one of 
the big Joann, ETC stores opened in our area.  They had a great selection of 
silks then.  Alas, I guess they didn't sell, as they cleared them all out and now 
only have dupioni. I also got a lovely piece of black silk with a border 
embroidery in lavender.  And, of course, the advantage of buying them at Joann's 
is that I could use my 50% off coupons.  Hmm, maybe that's why they had to get 
rid of them--nobody would buy them at full price!  Also in their late lamented 
line of silks was a peach silk twill that was perfect for making the 
nude-look underdress to wear under an early 19th century sheer white cotton gown.
Ann Wass
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From h-costume-bounces@indra.com  Fri Oct 31 09:45:46 2003
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Date: Fri, 31 Oct 2003 06:44:51 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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At 09:28 AM 10/31/2003 -0500, you wrote:
>In a message dated 10/31/2003 9:01:51 AM Eastern Standard Time,
>historian@reconstructinghistory.com writes:
>
> > Can't really argue with anything they have to say.
>
>I can...
>
>A woman in a "Victorian" gown on a tour of a historic house is more of a
>distraction than a benefit. The focus of the interpretation is on the 
>furniture or
>the architecture or the family who lived there. The rooms are fabrications
>anyway, due to the passages needed to accommodate the public. Besides, the 
>guide
>is in danger of knocking things off tables with her skirts.
>
>Pul-eeze! Only if she's a complete cluts!

And if the room is "historically" arranged, you should not have that 
problem. Many "reproduction" rooms are overcrowded with furniture and 
"stuff" that would not have been there.

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From h-costume-bounces@indra.com  Fri Oct 31 09:52:20 2003
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In a message dated 10/31/2003 9:45:28 AM Eastern Standard Time, 
joanmj@surewest.net writes:
And if the room is "historically" arranged, you should not have that 
problem. Many "reproduction" rooms are overcrowded with furniture and 
"stuff" that would not have been there.
Granted the late Victorian is not my period, but I have seen photographs of 
rooms from this time, and they really do look overcrowded to modern eyes.  So 
maybe some of these repro rooms are based on accurate period images.
Ann Wass
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Subject: RE: [h-cost] link: "Accurate Reproduction Clothing"
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AlbertCat wrote:
I can...

A woman in a "Victorian" gown on a tour of a historic house is more of a

distraction than a benefit. The focus of the interpretation is on the
furniture or 
the architecture or the family who lived there. The rooms are
fabrications 
anyway, due to the passages needed to accommodate the public. Besides,
the guide 
is in danger of knocking things off tables with her skirts.

Pul-eeze! Only if she's a complete cluts!
>>>>
I can't disagree with you there.  But he goes on to almost completely
contradict himself and say that accurate reproduction clothing is
important.  If you're going to do it, do it right.

How big, exactly, does he think "Victorian" clothing is I wonder...

Kass

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Date: Fri, 31 Oct 2003 07:51:40 -0800
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> >http://www.mathematicshelpcentral.com/graph_paper.htm
> 
> Knitting needs a rectangular grid, not a square one.  But thanx
> anyway.

Have you looked at the program?

I use the graph paper printer program that Philippe Marquis wrote 
(which the website seems to point to). It is totally customizable so 
that you can have rectangular grids. And it's easy to use (which is 
good since I am not a computer program wizard).

If you need a grid which is rectangular you just enter a different 
number for the abscissa than you do for the ordinate (which one is 
bigger depends on which way you want your rectangle to lay). And you 
can see what it looks like before you print it, you can do test 
prints and you can save your grid for later use.

It allows you to have alternating heavy and light lines (actually 3 
sizes alternating if you really wanted it to do so) and it can do it 
in color or with black or grey lines.

It's a fairly small program so it won't eat up a lot of space on your 
machine.

It may fit your needs afterall.

Kat
<kat@redtrollforge.com>


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Date: Fri, 31 Oct 2003 08:53:43 -0800
Subject: Re: [h-cost] silk taffeta source
From: Lynn Downward <LDownward@chori.org>
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On 10/30/03 7:20 PM, "AlbertCat@aol.com" <AlbertCat@aol.com> wrote:

> In a message dated 10/30/2003 9:14:10 PM Eastern Standard Time,
> kendra@tweedlebop.com writes:
> 
>> Heather (on this list) recently bought some of the peach (and seafoam?)
>> taffeta from Fashion Fabrics Club, and it's actually much lighter than most
>> taffetas I've handled.
>> 
> 
> I've seen some real 1840s gowns somewhere that were very light taffetas. And
> some 1870's too [Also just an FYI.] So this could be good.
> 
> Now if we could just find some of those springy wool/silk blends from the
> 1840s......
>

I can't address how historically correct they are, but if you're in Los
Angeles, B. Black and Sons have beautiful yardage of wool and silk blends.
They have a website but you can't feel the fabric and really appreciate the
'crunch' of it. The two pieces I bought (for walking skirt-type skirts for
work) had the most beautiful hand I've ever felt in any fabric. They had
beautiful small striped patterns and some gorgeous tweeds. There were
certainly other patterns including plaids; I just didn't pay as much
attention to them. B. Black is on Los Angeles St, I believe, just a few
blocks from the fabric district.

Very satisfied customer for several years,
LynnD
 
> I also remember this great ca 1876 skirt of very light shiny silk twill. [It
> was kaki in color with one of those typical asymmetrical drapes that started
> with a horizontal ruffle on one hip. The back side of the ruffle, which you
> caught a glimpse of, was lined in burgundy taffeta. I wonder what the [lost]
> bodice looked like.] Didn't they have silk twill taffeta on the site too? Or
> was 
> that Silk Connections?
> 
> _______________________________________________
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> h-costume@mail.indra.com
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http://www.mathematicshelpcentral.com/graph_paper.htm

Helen, that site is wonderful.  Thank you.

I just downloaded the graph paper printer program and it works like a charm.
Looks like needlepoint lay-out to me!

Martha



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Subject: [h-cost] Re:16th century sock clocks?
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Not sure who asked originally, and while a voracious reader/searcher at 
times, I'm lamentably horrid about remembering to actually *write* any 
of my specific source stuff down (throwback to school... it becomes work 
when you write notes, instead of fun).

However, I do seem to recall reading in a couple of places (can't 
remember if Rutt is one or not) that one of the original reasons for 
knitted in clocks was to provide a bit of give in the slender ankle and 
just above area, to allow the bulky heel of a foot through.  By adding 
in those purled stitches, you provide give that comes back (yes, that's 
why we all love ribbing so much now :-)

Exactly when the embroidered clocks came in I'm not sure... though I 
know that they were around by American Revolutionary time.  Knit 
stockings being so new in the 1500s, other than in the Germanic 
countries,  I can't imagine them being imitated/faked with embroidery 
for decoration quite that early  (in England they didn't show up until 
around Queen Elizabeth's time... and even then they're pretty rare... 
sigh... I'd been trying to come up with a Henry VIII character for faire 
that would knit.  No luck unless German.)

-Elisabeth

>From: Kirrily Robert <skud@infotrope.net>
>
>
>In lists.sca.h-costume, you wrote:
>  
>
>>Say, while we're on the subject of stockings, does anyone have resources for embroidered or knit clock patterns for stockings, from the 16th century?
>>    
>>
>
>I know one person in the SCA who has recreated Eleanor of Toledo's red
>stockings, and I know she's also knitted hose with clock patterning.
>She might have the details.  Her details are here:
>http://www.sca.org.au/laurels/biogs/margie/margie.htm
>
>I have another friend who was laurelled mostly for SCA period knitting,
>her details are here:
>http://www.sca.org.au/laurels/biogs/rohese/rohese.htm
>
>I figure their email addresses are publicly available, so feel free to
>drop them a line and ask them.
>  
>
>  
>


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
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Date: Fri, 31 Oct 2003 10:53:25 -0700
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Subject: [h-cost] 
	FW: How the linen that we love came to be what it is.-some Russian
	History
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Thought I would send this along for you Russian and Linen buffs.

 

-----Original Message-----
From: Fabrics-store.com [mailto:cs@fabrics-store.com] 
Sent: Thursday, October 30, 2003 9:16 AM
To: saragrace@earthlink.net
Subject: How the linen that we love came to be what it is.

 

We already had the wonderful opportunity to begin discussing linen history
from the period that stands out as the oldest and most significant, Ancient
Egypt. But linen plays a significant role not only in Ancient Egypt. In fact
Asian tradesmen start to mention Slavic linen production as far back as
2000BC. At that time flax was mainly used to manufacture sailcloth, fishnets
and mainly for flax oil, but this is just the beginning.

In the 10th through the 13th centuries, the Russians were already deeply
involved with linen production. By this time they had already developed two
types of printing: block and line printing. Block printing was done on linen
using black, dark blue, bright red, yellow, or white dye on bleached linen
that was then dyed a dark blue or green color. Motifs derived from plant
forms were rare to the eye, but stylized animals are often encountered:
horses, deer, and various birds. Line printing that was simpler and
generally geometrical. A typical pattern resembles a rhomboid latter lattice
with dots or circles in the middle; four-part divisions into smaller
rhomboids, rosettes, or stars on a back ground of smaller triangles or
squares (imitating wood carvings); patterns of straight or wavy lines; and
with a different figure into it's rosettes, braiding and 'suns' for borders.

To achieve this plethora of colors, fabrics were treated with animal, though
preferably vegetable dyes. Blue dye was made from 'son-travi' which
literally means ' dream grass', cornflower, blueberry/huckleberry and
bilberries. Yellow was exerted from blackthorn and 'droka' (the leaves of
birch). Golden-brown was achieved with the color of onion peels, oak and
pear bark. Reddish-brown dyes were of buckwheat, St. John's wart, wild apple
cores or bark, alder and buckhorn. Solid colored fabrics were called
'kreshenin' and consisted of homespun linen dyed blue, green, and red, they
were later set aside for boyar clothing. Despite all these techniques, the
raw color of unbleached linen still predominated in peasant garments through
out time. 

In the 18th century Russia encounters great economic, social and cultural
changes. Peter decides to widen the flax industry. This is where the story
of linen, our linen, begins to really develop. At first, around 1727, there
were fifteen existing factories that employed 3000 workers, but by 1799 the
number of workers expands to 29,000. In that time, export increases from
1856 k pud (1 pud = 16.38kg) to 4450 k pud, which adds up to 19.1% of the
total world export. During the 19th century Russia becomes number one
supplier for the European market. From 1861, with the introduction towards
abolition of export duty tax on linen within Russia, the country rises to
produce 64% of linen for the World market. Such large numbers of production
are also attributed to the fact that Belgium, simultaneously, decreases
sales due to a swell of export tax, as well as the time breaking British
Industrial Revolution, with it's fast, cold cut technology and the 'assembly
line' motto. Likewise, Irish linen, most known for it's fair quality is only
evident to have appeared on the main market with the arrival of Huguenots in
the late17th century, yet the numbers of production are incomparable. 

Naturally, with such productions, one may inquire about the use of such
large quantities of raw material within the Tzars kingdom. 'What may one do
with all his cloth?' 

" The main fabrics used by nobility and peasantry for everyday clothes were
linen and wool, both made from local materials and available in a variety of
weights and quality. Linen production was particularly well developed. In
the ancient Russian language there existed two sets of terms for indicating
linen fabric: 'hlast', 'holst', 't'lstiny', denoting unbleached fabric, and
'bel', 'platno', denoting bleached linen. Characteristically, during
excavations the remains of the materials not infrequently are found, most
often of all bleached linen ('platno')." (Pushkareva89)

As you can see there was no over abundance of linen in Russia since it was
warn by nobility and peasants alike, but flax played a much more crucial
role in the lives of peasants. The relationship between man and his crop
greatly predestined the man's life. If he worked hard, his crop would feed
him, and the crop demanded a lot of time. Growing flax was perhaps one of
the most difficult tasks 'krestyanin' could acquire, but the earth was poor
and linen was the last resource. It was very demanding not just because of
making sure that the flax grows, but of the whole process required to turn
it into linen. After the harvesting, flax sheaves were left out to ripen the
fibers, next they were spread across threshing floors to dry: seeds were
beaten out of the stems. Again, the fibers were laid to rest in open air to
gather dew and sun. Then dried, dressed, cleaned and carded with huge wooden
hackles. Soft to touch, the clean tow was spun on spindles. Only now came
the turn for the loom. Yet even the woven linen was still not ready for use.
First, long strips of linen were spread across slightly melted snow, then
the ice and the sun would bleach the fabric. After the men took their
battledores and beat the roughness away on the shores of a river. The silky
softness was the ticket to some 'bread on the table'. There is even a wise
proverb that states: ' Rye is the mother- linen is the father.' Linen was a
very significant part of a Russian man's life.

I hope you enjoyed this <http://fabrics-store.com/affclick.php?pg=213>
little piece of history and hope to see you again.

Thanks,

Oksana

P.S. Now we are also offering web hosting. You can register your domain for
$8.75 a year and host your website for as low as $7.95 a month
<http://www.johnhost.com> .
----------------------------------------------------------------------------
-------
Fabrics-store.com <http://fabrics-store.com/affclick.php?pg=213>
<http://affiliate.fabrics-store.com/affiliate.php?pg=213> . Great place for
pure linen fabric. Free samples, sales and discounts. 

If you no longer wish to receive our newsletters and updates, please click
unsubscribe <http://fabrics-store.com/first.php?goto=unsubscribe&start=1> . 

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From h-costume-bounces@indra.com  Fri Oct 31 13:25:12 2003
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Date: Fri, 31 Oct 2003 10:24:04 -0800 (PST)
From: Mara Riley <corbiegirl@yahoo.com>
Subject: RE: [h-cost] link: "Accurate Reproduction Clothing"
To: Historical Costume <h-costume@indra.com>
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A case in point: last time I visited the site, I noticed that Mount
Vernon's tour guides were dressed (at least, in summer) in khaki
slacks and a green polo shirt with the site's logo on it.

They also had one or two people in accurate historical costume doing
a first-person impression -- the woman I encountered was portraying
Lady Fairfax. 

I think this is the best of both worlds.  The site doesn't have to
spend a lot of money clothing the tour guides, but the tourists get
to encounter someone doing a high-quality, well-researched
first-person impression.  And, after all, tourists do want to see
someone in costume when they go to a site. 

It also delineates a clear boundary between those doing a
first-person impression (those in costume) and those who are
answering modern questions that would force an interpreter to step
out of persona.  That probably makes it easier for the people who are
doing first-person to stay in persona, a problem I've had at sites
where some people were staying in persona and some weren't.

The problem is that some people volunteer to be docents at sites
because they like to dress up -- even if their idea of dressing up is
the bodice and mob cap.  The only answer to this is to educate the
site administrators and get them to update their guidelines,
unfortunately.  

-- Mara


--- Kass McGann <historian@reconstructinghistory.com> wrote:
> Can't really argue with anything they have to say.  But I really
> wish
> more sites would buy decent clothing for their docents and not let
> them
> go around looking like unmade beds in "English bodices" and muffin
> caps.
> I think it destroys the credibility of the site.  Dare I say it? 
> Better
> for them to be dressed in a modern uniform than bad "reproduction
> clothing".
> 
> Kass

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Date: Fri, 31 Oct 2003 18:42:49 -0000
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:16th century sock clocks?
From: <aquazoo@patriot.net>
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Cozit / Liz <cozit@comcast.net> said:
> However, I do seem to recall reading in a couple of places (can't 
> remember if Rutt is one or not) that one of the original reasons for 
> knitted in clocks was to provide a bit of give in the slender ankle and 
> just above area, to allow the bulky heel of a foot through.  By adding 
> in those purled stitches, you provide give that comes back (yes, that's 
> why we all love ribbing so much now :-)

     I remember reading that, too.  It's funny, though, that the ankle is also 
where we see soem very elaborate embroidery in the 17th & 18thC.  Metallic 
threads over vellum are definitely not going to make the area more flexible!

     Hmmmn, here's a thought - if the embroidery was stiff enough, maybe it 
kept the area from bagging as much?  And maybe it distracted the attention from 
any wrinkles around the ankles?

     As far as real live 16thC hose, there are some as well as other knit 
objects in the Museum of London.  I'll have to dog out my slides...  But these 
are common stockings, not the sort with pretty clocking on them.

     -Carol

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Subject: Re: [h-cost] Moire silk source
To: h-costume@indra.com
Date: Fri, 31 Oct 2003 11:14:25 -0800 (PST)
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	30, 2003 08:06:51 PM
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if you could find silk faille, you could make your own moire...


> 
> Well darn! Then, I guess I will just go with silk taffeta instead of moire, 
> as making a 16th century dress out of poly or acetate is not personally 
> acceptable. 
> 
> In case your wondering what the project is, go here.
> 
> 
> http://www.kfki.hu/~arthp/html/d/durer/2/11/2/01dresse.html
> 
> Close up, http://www.kfki.hu/~arthp/art/d/durer/2/11/2/01dresse.jpg
> 
> 
> You can see the wattered silk of the dress by the hem of her cloak. 
> 
> -Marion 
> 
> > Hi.
> > As far as i have found out, real silk moire is not made any more.
> > You can only get man made fiber moire today.
> > 
> > Bjarne
> > 
> > 
> > ----- Original Message ----- 
> > From: <mmcnealy@att.net>
> > To: <h-costume@net.indra.com>
> > Sent: Thursday, October 30, 2003 12:54 AM
> > Subject: [h-cost] Moire silk source
> > 
> > 
> > > Does anyone have a good online source for moire silk? 
> > > 
> > > -Marion
> > > _______________________________________________
> > > h-costume mailing list
> > > h-costume@mail.indra.com
> > > http://mail.indra.com/mailman/listinfo/h-costume
> > > 
> > 
> > 
> > _______________________________________________
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> > h-costume@mail.indra.com
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> 
> _______________________________________________
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Subject: [h-cost] Re: How high on thigh socks come?
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At 8:22 PM -0700 10/30/03, h-costume-request@indra.com wrote:
>Are you knitting from the toe up?  I always thought sox were knitted from
>the top down.  Do you have documentation on toe-up knitting?  I'd love to
>see it, as it would make several things easier.
>
>  >Carol, with a knee warmer rapidly turning into a sock!

Nope top down, carefully sliding tube + needles over chunky leg to 
measure & check fit... wondering how high up the thigh the sock 
should go...

'orrible Halloween thought--Amish strippers......

I'll just slink off now <BEG>

Ta
Carol
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At 8:22 PM -0700 10/30/03, h-costume-request@indra.com wrote:
>      Do you have the URL of that specific part of the German web page?  I'm
>curious what they're showing as Derby ribs.  Many of the pictures seem to be
>from Jeremy Farrell's _Socks & Stockings_.  Farrell is the curator of the
>Nottingham costume museum.
>
>      As far as how high stockings go, maybe a hand and a half? 
>There are a few
>paintings of ladies tying their garters which show the length.
>
>      -Carol

It was the one mentioned on this list, I didn't book mark it-ARGH!
Thanks on the length!! I'm not as far on as I thought <G>
Ta
Carol, back to knitting everywhere but in the car-I end up dropping 
stitches there...eech!
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Date: Fri, 31 Oct 2003 11:46:07 -0800 (PST)
From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] 
	re: How the linen that we love came to be what it is/Russian history
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> Thought I would send this along for you Russian and
> Linen buffs.

Intriguing certainly. When I read this article the
other day, I called up the fabrics-store folks and
asked the nice girl who answered, Jenny (Genya in
Russian/Ukrainian I think?), if she could put me in
contact with the author so I could get more citation
info. She told me Oksana (who is the owners' daughter)
is currently in Ukraine, but that she could be reached
by email. I emailed her today with my query for
sources/citations, etc. and hopefully I'll get a
response. I'll forward anything I get here, if folks
are interested (and I suspect someone somewhere on
this list would have to be.) :^D

-Tasha

=====
http://www.cottesimple.com
An exploration of European clothing and accessories from the late 14th/early 15th centuries.

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Subject: [h-cost] 
	Wierd question (was  link: "Accurate Reproduction Clothing")
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Ok, I have a weird question that this thread has made me think of.  I'm not 
sure there's a right answer, but some opinions would be appreciated.

I am doing a book on medival shoemaking.  There will be several sections in 
which processes will be demonstrated.  My plan has been to have the model in 
clothing appropriate to the period being discussed - nothing exciting, just 
pretty dull working class clothing.  Will this be too big a distraction from 
the goal of the book, will it be too "cute", it wouldn't look right with 
someone in modern dress doing it, any thoughts?

Marc

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At 11:14 AM 10/31/2003 -0800, you wrote:
>if you could find silk faille, you could make your own moire...


Hi Heather,

How would you do that? I thought it would take a lot of pressure. Do you 
have directions on this, or can point us to directions on this?

Denver Fabrics have silk faille right now.
http://www.denverfabrics.com/Merchant2/merchant.mv?Screen=CTGY&Store_Code=001&Category_Code=SI-ta

Thanks!

Kimiko



Kimiko Small
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"When there is fear, there is no creativity" ~ C. Lowell

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At 06:41 PM 10/30/2003 -0600, you wrote:
>Hmm. Then I'd better not tell you about Istok.
>
>http://www.istok.net/
>
>Click on "Vestment Fabrics."


Oh, my goodness. I just drooled all over myself.

Thanks Robin for sharing that.

Kimiko


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At 01:55 PM 10/31/2003 +0100, you wrote:
>"How Important is Accurate Reproduction Clothing?"
>http://www.alhfam.org/his.clo.news/f98ahcc.html


I have a few thoughts...

"Costumes are for clowns. real people of the past wore real clothes which 
were fashionable, practical, durable, and made sense in their lives just as 
modern people do. It is insulting and insensitive to dress interpreters in 
costumes. It shows a disregard for people of the past." ~ Thomas Shaw

I really like that line from him. It really reverberated in my head as to 
why I am looking at our faire folks, and seeing things which make me cry.

"Then just add the posture, movement, and gestures which tell the 
character's social standing, health, and maybe a hint at the character's 
history. Remember, gestures say a thousand words; and if the character 
looks like someone from the right time, people will believe it." ~ Kathleen 
Kannik

Ah, that is what it is. That is the biggest thing to me right now, besides 
the badly made costumes and underpinnings I am seeing. Very few people know 
how to act like whatever part they play. The beggers no longer beg, the 
nobles no longer act appropriately haughty (except the King), and the rest 
have no idea how to act the part they play. You see, I was in the company 
of a wonderful actor who could BE his character, no matter how low (begger) 
or high (Earl of Oxford) the part was, and he played the range. I am no 
longer seeing that. And this is becoming a rant, sorry.

And I think I fully agree with Beth Gilgun's info.

I think I will be printing this out and giving it to my local guilds. We 
have needed a wakeup for years, and while it may not be an historical 
museum, we should be trying harder, not just "getting by".

Our only local museums don't have costumed docents, except at Christmas I 
think. I haven't been there during Christmas in years, so I don't know how 
well they are costuming themselves.

Thanks for sharing this!

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: Re: [h-cost]  Wierd question (was  link: "Accurate Reproduction
	Clothing")
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Marc,

I think having them in period appropriate clothing is
DEFINITELY less distracting than the alternative.

Angharat,

who should begin hoarding her pennies for it now

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  Wierd question (was  link: "Accurate Reproduction
 Clothing")
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On Fri, 31 Oct 2003, Marc Carlson wrote:

> I am doing a book on medival shoemaking.  There will be several
> sections in which processes will be demonstrated.  My plan has been to
> have the model in clothing appropriate to the period being discussed -
> nothing exciting, just pretty dull working class clothing.  Will this
> be too big a distraction from the goal of the book, will it be too
> "cute", it wouldn't look right with someone in modern dress doing it,
> any thoughts?

I think if you can get every detail right, it would be fine. But if
anything obvious is off -- e.g. if the person is wearing glasses, or has a
modern haircut, or is sitting on a modern chair or at a modern table or in
front of a clearly modern wall, or is using any modern tools -- it will
look more "amateurish" or "dress-up" and distract from the point of your
photos. If that would be the case, I'd suggest putting your craftsman in
modern dull working clothing with absolutely nothing to call attention to
it on its own.

JMO.

--Robin


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Subject: Re: [h-cost]  book on medival shoemaking
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Actually, as someone that is contemplating doing the same thing with
gloves this is something that I have been thinking of.

Of all the books I have just about all of them have photos. In the ones
that do not have photos but still represent the process of making gloves
they use illustrations of the model(s). (This is only two of 30 or so
books I have so far and personal notes from two authors.) To my eye these
are far more educational.

In your case you can draw the perfect period character in full proper garb
much easier to demonstrate your point than it would be to do one with
models. Your choices are not so limited by what they own already in order
to wear it appropriately.

Does that help any?

Chiara

Marc Carlson said:
> Ok, I have a weird question that this thread has made me think of.  I'm
> not  sure there's a right answer, but some opinions would be
> appreciated.
>
> I am doing a book on medival shoemaking.  There will be several sections
> in  which processes will be demonstrated.  My plan has been to have the
> model in  clothing appropriate to the period being discussed - nothing
> exciting, just  pretty dull working class clothing.  Will this be too
> big a distraction from  the goal of the book, will it be too "cute", it
> wouldn't look right with  someone in modern dress doing it, any
> thoughts?
>
> Marc
>
> _________________________________________________________________
> Send instant messages to anyone on your contact list with  MSN Messenger
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From: "Cyn Bucheger" <cbucheger@paclp.com>
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 Marc Carlson wrote:
>
> > I am doing a book on medival shoemaking.  There will be several
> > sections in which processes will be demonstrated.  My plan has been to
> > have the model in clothing appropriate to the period being discussed -
> > nothing exciting, just pretty dull working class clothing.  Will this
> > be too big a distraction from the goal of the book, will it be too
> > "cute", it wouldn't look right with someone in modern dress doing it,
> > any thoughts?
>
> I think if you can get every detail right, it would be fine. But if
> anything obvious is off -- e.g. if the person is wearing glasses, or has a
> modern haircut, or is sitting on a modern chair or at a modern table or in
> front of a clearly modern wall, or is using any modern tools -- it will
> look more "amateurish" or "dress-up" and distract from the point of your
> photos. If that would be the case, I'd suggest putting your craftsman in
> modern dull working clothing with absolutely nothing to call attention to
> it on its own.
>
> JMO.
>
> --Robin
>
>

My first response was to have the craftsman in the appropriate clothing,
with the right tools and so on, but I think Robin is right, if it's not
perfect it could be distracting.

Then I also considered if I picked up a book with a craftsman in perfectly
correct clothing using all the right tools, I might be intimidated to try
the method with my paltry modern tools.

A page showing the outfit/clothing style that the shoe would have been worn
with would be handy for those that want to be shown rather than have to read
which is their correct style

Cyn


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moire silk source
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On Fri, 31 Oct 2003, Kimiko Small wrote:

> At 11:14 AM 10/31/2003 -0800, you wrote:
> >if you could find silk faille, you could make your own moire...
> 
> How would you do that? I thought it would take a lot of pressure. Do you 
> have directions on this, or can point us to directions on this?

I'm guessing she means real "watered silk," which if I understand
correctly was the original type of moire, created with selective
waterstaining. Today's "wood-grain" moire patterns are created with
pressure or heat and rollers, I think -- I know that most moires I've seen
have repeating patterns, not random ones.

Today, "watered silk" is a synonym for modern moire fabric, and has
nothing to do with water.

I'd *love* to know how to make watered silk, though I'm sure I'd make
absolute hash out of expensive silk if I tried.

--Robin

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What are you dressing up as tonight?


My husband and I and two of our best friends all did late Victorian this 
year, 1893-ish. I hope the photos come out!



Dawn



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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moire silk source
Date: Fri, 31 Oct 2003 21:16:23 +0000
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Right, the original dress was made out of watered silk, moire being the 
closest thing to it in the current fabric vocabulary that I could think of. 

Does anyone have an idea on how to make this? I don't think its as simple as 
just getting it wet, I have washed silk before and it doesn't end up with 
wavy patterns. Is it perhaps a type of staining using wine or an acidic water 
for the patterning?  

I think I see another research project on the horizon. 

-Marion

> I'm guessing she means real "watered silk," which if I understand
> correctly was the original type of moire, created with selective
> waterstaining. Today's "wood-grain" moire patterns are created with
> pressure or heat and rollers, I think -- I know that most moires I've seen
> have repeating patterns, not random ones.
> 
> Today, "watered silk" is a synonym for modern moire fabric, and has
> nothing to do with water.
> 
> I'd *love* to know how to make watered silk, though I'm sure I'd make
> absolute hash out of expensive silk if I tried.
> 
> --Robin
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Date: Fri, 31 Oct 2003 13:19:19 -0800
From: Fran Grimble <fran@lavoltapress.com>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  Wierd question (was  link: "Accurate Reproduction
	Clothing")
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Congratulations. Who is your publisher?

Your book is under no obligation to do anything it doesn't claim to do, 
only to fulfill its stated goals.   If it is not right for certain 
people--for example people looking for a more general clothing 
overview--that does not mean it's a bad book, though it may not be the 
book they want.  

In this case, you could say (probably in the introduction) something 
like, your goal is to clearly present certain shoemaking techniques; and 
it really helps to include photographs of a people using those 
techniques so readers/learners can see how the techniques look in 3-D.  
You asked the models demonstrating the techniques to wear something more 
or less appropriate from their own wardrobes, since you thought blue 
jeans etc. would look too jarring next to all the pictures of medieval 
style shoes.

However, that is all you were aiming for. Your goal is not to present a 
detailed, comprehensive overview of the clothing worn by shoemakers from 
the years X to X.  Just to teach certain techniques.  And by the way, 
thanks to the models X, Y, and Z, who spent hours of their time giving 
you invaluable help with your book.

Fran


> Marc Carlson wrote:
>  
>
>>>I am doing a book on medival shoemaking.  There will be several
>>>sections in which processes will be demonstrated.  My plan has been to
>>>have the model in clothing appropriate to the period being discussed -
>>>nothing exciting, just pretty dull working class clothing.  Will this
>>>be too big a distraction from the goal of the book, will it be too
>>>"cute", it wouldn't look right with someone in modern dress doing it,
>>>any thoughts?
>>>      
>>>
>>
>>
>>    
>>
>
>
>
>  
>

-----------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Date: Fri, 31 Oct 2003 13:09:54 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: RE: [h-cost] Moire silk source
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>Of course I'll work in the real thing if I have the choice. Rayon for silk
>is about the only substitution I'll tolerate.  I refuse to use any of
>today's wool substitutes, even though they look and feel exactly right,
>because they don't *behave* right. And don't get me started on
>"linen-look" fabrics ;-)
>
>--Robin

No kidding!  I'm very fortunate to live in LA, with the fabric mart 
downtown.    But never go there without a book of matches.  Many of 
the folks there think "linen" means "linen weave", no the fiber 
itself.

Fortunately, I have found two little gems of stores where I can get 
GREAT linen, and yesterday I even got a FABULOUS 100% Italian wool - 
broken twill weave, nice and heavy, and fulled and teaseled thick and 
fuzzy, in a rich black.

Next time I go downtown I'll be stocking up, instead of running a 
quick errand like yesterday.....   I'm happy to pick up fabric for 
folks who are sick of paying retail, and don't have the access I do. 
Couple of weeks ago, I got a GORGEOUS cabernet colored silk shantung 
to do a Halloween gown for someone.   60 wide, great quality.  Talked 
'em down to $7 a yard!

I did this a couple of years ago on this list - got a bunch of people 
some beautiful white linen - I think everybody was pretty happy.... 
I'll let you guys know when I'm going next....

Rima
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Date: Fri, 31 Oct 2003 13:20:35 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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>In a message dated 10/31/2003 9:01:51 AM Eastern Standard Time,
>historian@reconstructinghistory.com writes:
>
>>  Can't really argue with anything they have to say.
>
>I can...
>
>A woman in a "Victorian" gown on a tour of a historic house is more of a
>distraction than a benefit. The focus of the interpretation is on 
>the furniture or
>the architecture or the family who lived there. The rooms are fabrications
>anyway, due to the passages needed to accommodate the public. 
>Besides, the guide
>is in danger of knocking things off tables with her skirts.
>
>Pul-eeze! Only if she's a complete cluts!

Yeah, that bugged me too.  Sheesh!   Doesn't he think we know how to 
manage our garments??????

Rima
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Date: Fri, 31 Oct 2003 13:18:09 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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>"How Important is Accurate Reproduction Clothing?"
>http://www.alhfam.org/his.clo.news/f98ahcc.html

"Costumes are  for clowns.  real people of the past wore real clothes 
which were fashionable, practical,  durable, and made sense in their 
lives just as modern people do. "

Bless their fuzzy hearts!   I'm am FOREVER explaining that I do NOT 
make "costumes", I make Historic Clothing.   "Costumes" are what you 
buy at Thrifty so your kid can dress up like Spiderman.

Rima
Harumph!
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Date: Fri, 31 Oct 2003 13:29:25 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: [h-cost] Re: How high on thigh socks come?
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>'orrible Halloween thought--Amish strippers......
>
>I'll just slink off now <BEG>
>
>Ta
>Carol

That's TWISTED....

But, speaking of Amish....

Do y'all know about this site????
http://www.friendspatterns.net/friendscatalog1.html
Found it by accident.   Naturally, wanna buy everything here, even 
though this is not my thing at all....  it's just irresistible!

Rima
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Date: Fri, 31 Oct 2003 16:26:54 EST
Subject: Re: [h-cost] since it's Hallow'een
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We aren't dressing up tonight, but, last Saturday and this Wed. and Thursday, 
we wore costumes based on early 19th century exotic or historic dress as 
pictured in Aileen Ribeiro's "Art of Dress."  Mine is based on the 1805 Lawrence 
portrait of Lady Elizabeth Foster as a sybil (I'm Pomono--goddess of the 
harvest) and Jim's based on the Beechey 1798 portrait of Thomas Hope in "Turkish or 
Armenian" (her words; I understand they don't have a great deal in common) 
dress.
My outfit consists of an underdress of golden yellow linen top, to give the 
effect of a chemise, and skirt of ecru pleated polyester (I cheated to get the 
permanently-pleated fabric.)  Overdress is a cream brocade overprinted with 
fruits in gold, maroon, and olive green, with a shaped overskirt of maroon 
charmeuse.  I draped an olive green silk square over one arm, and made a wreath of 
fruits and leaves.
My husband wore a white shirt without the ruffle, pinned shut about halfway 
down, with a red, gold, and black silk brocade vest, red linen trousers, black 
silk sash, and outrageously large turban in gold silk with a large red and 
gold tassel.
Ann wass
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Moire silk source
Date: Fri, 31 Oct 2003 13:28:48 -0800
To: Historical Costume <h-costume@indra.com>
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watered silk is made, as I understand it, by dying just the warp 
threads.

I was thinking one could make a wood grain with two failles and a 
professional steam iron - it would be a true pain, but I think you 
could get the pressure you need.  Maybe I'm nuts, though!


On Oct 31, 2003, at 2:18 PM, Robin Netherton wrote:

>
> On Fri, 31 Oct 2003, Kimiko Small wrote:
>
>> At 11:14 AM 10/31/2003 -0800, you wrote:
>>> if you could find silk faille, you could make your own moire...
>>
>> How would you do that? I thought it would take a lot of pressure. Do 
>> you
>> have directions on this, or can point us to directions on this?
>
> I'm guessing she means real "watered silk," which if I understand
> correctly was the original type of moire, created with selective
> waterstaining. Today's "wood-grain" moire patterns are created with
> pressure or heat and rollers, I think -- I know that most moires I've 
> seen
> have repeating patterns, not random ones.
>
> Today, "watered silk" is a synonym for modern moire fabric, and has
> nothing to do with water.
>
> I'd *love* to know how to make watered silk, though I'm sure I'd make
> absolute hash out of expensive silk if I tried.
>
> --Robin
>
> _______________________________________________
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Subject: Re: [h-cost] since it's Hallow'een
Date: Fri, 31 Oct 2003 16:28:45 -0500
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> What are you dressing up as tonight?

I thought about my French maid outfit, but it needs some work, so I dusted
off my NASA-surplus flight-suit from the back of the closet and am waiting
for the kiddies to come by to trick-or-treat.

Tomorrow night is the party we're throwing, and I'm going all Elizabethan.
The weather is just right for hoop-swaying goodness and I mean to enjoy
every minute.


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From h-costume-bounces@indra.com  Fri Oct 31 16:33:57 2003
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I thought about my French maid outfit (indeterminate time period), but it
needs some work, so I dusted off my late-20th-century NASA-surplus
flight-suit from the back of the closet and am waiting for the kiddies to
come by to trick-or-treat.

Tomorrow night is the party we're throwing, and I'm going all Elizabethan
(black and silver, embroidered bodice and stays). The weather is just right
for hoop-swaying goodness and I mean to enjoy every minute.


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Subject: Re: [h-cost] Moire silk source
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In a message dated 10/31/2003 4:29:25 PM Eastern Standard Time, 
alice@wonderland.com writes:

> watered silk is made, as I understand it, by dying just the warp 
> threads.
> 

Nope. That's another technique. I always called it "warp printed" but there's 
a Japanese name for it too. It creates a fuzzy, out of focus pattern, usually 
of flowers.

The real watered silk I've seen looks like the mark you get if you let water 
pool on silk....a faint line at the edge of the pool after it dries. I often 
wondered if you had some kind of rack with parallel dowels with spaces between 
and you laid the silk on it, wet it, and let it pool in the valleys between 
the dowels, let it dry, do it several times [with different water levels] you'd 
get a moire effect.  But I'm making this up so who knows?

I've seen a watered silk that was not moire in pattern but more like random 
circular areas that overlapped. And the fabric was folded when it was done 
because it made 4 mirror images of the random pattern across the fabric.
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I'm wearing my Flemish kirtle and gown, and have already had to pull my
skirts out of the wheels of my desk chair 4 times now.

When people ask "what are you supposed to be", I reply "well, it's casual
Friday, so I thought I'd just wear my work clothes"

Wendy Z
who has since switched to a non-rolly chair in
Chicaqgo, IL
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> What are you dressing up as tonight?

I'm not dressing up. We've had no trick or treaters come to the house 
since the next door neighbor girls "got too old for that kind of 
stuff." 

Halloween used to be my favorite holiday. It was the once a year when 
I had a place to "get dressed up." And dress up I did. But then about 
20 years ago I found a group where I could do it more often and with 
people who were more interesting (the SCA).

Then 6 years ago my dad couldn't wait one more day to die. So now 
that's all I can remember about the day.

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] Moire silk source
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Actually I just did a google search on it, and put in a request for a whole 
bunch of books from the library on silk. 

Basically, from what I have found so far, watered silk appears to be made by 
wetting silk and putting it through a rolling mill, the pressure on where the 
threads cross is what creates the patterns in the fabric. The treatment is 
after the silk is woven, for moire patterns, the thread is treated before 
weaving. 


-Marion

> watered silk is made, as I understand it, by dying just the warp 
> threads.
> 
> I was thinking one could make a wood grain with two failles and a 
> professional steam iron - it would be a true pain, but I think you 
> could get the pressure you need.  Maybe I'm nuts, though!
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Date: Fri, 31 Oct 2003 14:11:21 -0800
Subject: Re: [h-cost] since it's Hallow'een
From: Lynn Downward <LDownward@chori.org>
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On 10/31/03 1:55 PM, "kat@grendal.rain.com" <kat@grendal.rain.com> wrote:

> 
>> What are you dressing up as tonight?
> 
I usually dress up here at work, but I didn't this time. Seven people have
come to see what I was wearing and were disappointed when I was just wearing
black with a Dio de Los Muertos necklace. I've been building a costume for
my younger daughter for tonight and didn't have the time to make something
new.

Terry decided she wanted to be a bowl of strawberries. She's all in red with
a red knit cap. We build a bowl of hoop wire and a flower-printed fabric
that gathers and hang just right at her knees. I bought some large balloons
and covered them with several tones of red printed fabric and then put the
required green felt tops on them. Took scrap felt and rolled it, glued it
and glued that to the tops of the strawberries to make stems. Now all I have
to do is make certain that the suspenders hit in the right spot and attach
the balloon fabric to the bowl so they don't float away while she
trick-and-treats.  

I'm really thankful I didn't have average children; their costume ideas for
Halloween are always inventive and challenging. People have often thought I
made up the ideas for their costumes just so I could build them, but it's
always been up to them to decide what they wanted to be and my job to make
it so.

LynnD

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Subject: Re: [h-cost]  book on medival shoemaking
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Actually, as someone that is contemplating doing the same thing with
gloves this is something that I have been thinking of.

Chiara, interested in collaborating??  I've got a lot of research here on 
period (medieval and Renaissance) hand coverings ...

Nancy


***********************************************************
Nancy Spies         Ingvild Josefsdatter, OL
Arelate Studio      Barony of Bright Hills, Atlantia
http://www.weavershand.com/ArelateStudio.html
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Moire silk source
Date: Fri, 31 Oct 2003 17:09:43 -0500
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Nope. That's another technique. I always called it "warp printed" but
there's 
a Japanese name for it too. It creates a fuzzy, out of focus pattern,
usually 
of flowers.
>>>>
It's called "ikat" and that's not actually the Japanese name for it.  I
believe it was originally a Middle Eastern technique.

Kass

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moire silk source
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On Fri, 31 Oct 2003 AlbertCat@aol.com wrote:

> The real watered silk I've seen looks like the mark you get if you let
> water pool on silk....a faint line at the edge of the pool after it
> dries. I often wondered if you had some kind of rack with parallel
> dowels with spaces between and you laid the silk on it, wet it, and
> let it pool in the valleys between the dowels, let it dry, do it
> several times [with different water levels] you'd get a moire effect.  
> But I'm making this up so who knows?

Someone I have reason to trust once described it to me as a process with
rocks and weights (to raise and lower parts of the fabric) in a wide pool
of water. But I don't know where she heard this, so I can't cite it
definitively.

Dowels would create more of a line of patterns, like today's rolled
"wood-grain" looks. Paintings of watered silk look more like patterns of
wavy circles around randomly placed centers, as you describe:

> I've seen a watered silk that was not moire in pattern but more like random 
> circular areas that overlapped. And the fabric was folded when it was done 
> because it made 4 mirror images of the random pattern across the fabric.

--Robin


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Subject: Re: [h-cost] since it's Hallow'een
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> 20 years ago I found a group where I could do it more often and with
> people who were more interesting (the SCA).

Oh, ain't that the truth. I still have the first traced tunic from my SCA
days, back in the day - was it 1300? :) More like 1988.

I enjoy this holiday immensely, as I gave up on Halloween in my teen years
and realized I was missing all sorts of fun. I'm tickled that adults are so
into it these days - it gives me a chance to offer costuming advice which
consists of more than "go to the store and buy one."


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> Right, the original dress was made out of watered silk, moire being
> the closest thing to it in the current fabric vocabulary that I could
> think of. 
> 
> Does anyone have an idea on how to make this? I don't think its as
> simple as just getting it wet, I have washed silk before and it
> doesn't end up with wavy patterns. Is it perhaps a type of staining
> using wine or an acidic water for the patterning?  

Watered silk wasn't made by getting water on it, but by making a 
pattern on it which looked like water.

Before the 18th C this was done by rubbing a fabric with a prominent 
rib (like a silk faille or some weaves of wool) with glass balls or 
other smooth hard objects (from Roman times onward). After that it 
was also made by putting it through a press made with 2 cylinders 
which squished the fabric between them as it was cranked through with 
heat and/or moisture in a process called calendering. Until man made 
fibres which would actually fuse with the heat (such as acetates), it 
didn't tend to be a permanent finish.

> I think I see another research project on the horizon. 

Unfortunately, I can't find which of my many textile books talk about 
it extensively. The one I could find with a fast search of my 
"stacks" is:

_The Final Steps_ by Beverly Gordon ISBN 0-934026-07-6 put out by 
Interweave Press, Inc.

Hopefully that will give you a place to start, although I've read 
about the process in many other textile books where they talk about 
it more extensively.

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Fri Oct 31 17:13:11 2003
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Date: Fri, 31 Oct 2003 13:47:31 -0800
Subject: Re: [h-cost] Wierd question (was  link: "Accurate Reproduction
	Clothing")
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> I am doing a book on medival shoemaking.  There will be several 
> sections in 
> which processes will be demonstrated.  My plan has been to have the 
> model in 
> clothing appropriate to the period being discussed - nothing 
> exciting, just 
> pretty dull working class clothing.  Will this be too big a 
> distraction from 
> the goal of the book, will it be too "cute", it wouldn't look right 
> with 
> someone in modern dress doing it, any thoughts?
> 
> Marc

Yup. Your instincts are right--dress someone appropriately for the shoes.

And let us know when your book comes out! ;)

Arlys

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From h-costume-bounces@indra.com  Fri Oct 31 17:30:53 2003
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Date: Fri, 31 Oct 2003 14:33:18 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] since it's Hallow'een
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>What are you dressing up as tonight?
>
>My husband and I and two of our best friends all did late Victorian 
>this year, 1893-ish. I hope the photos come out!
>
>Dawn

fun!

Antoinio Vivaldi here....   had a violin lesson this morning, 
learning Concerto in B minor for four violins, so I couldn't 
resist....

Faked knee breeches with leggings, have good white hose, beautiful 
buckle shoes made by a guy in Pennsylvania who does 'em RIGHT, a fake 
waistcoat and a frock coat done with Richard The Threads' pattern out 
of left over brocade from my office drapes, lined with silk left over 
from my craft room drapes.  ;-D

Pattern really doesn't work for me.... gotta completely re-do it so 
it fits right.... it's meant for men with no hips, after all... ;-D 
And I'm sure I'm not even CLOSE to accurate....But hey, it's 
Halloween, not an SCA meeting, so given that, I'm feeling pretty 
Vivaldi today!

Rima
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From h-costume-bounces@indra.com  Fri Oct 31 17:54:23 2003
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Subject: [h-cost] Re: since it's Hallow'een 
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Well, I made a 1960's mod type little black dress with yellow stripes that 
accentuate my pregnant body very well.  Then made wings with wire and jumbo 
black panty hose.  I've got black fishnet stockings on and huge round 
plastic sunglasses and 1960's style make up.  My crowning glory is the 45 
minutes my mom (she in town visiting for a few weeks!!!) spent ratting and 
spraying my hair into this giant beehive hairdo!

I'm a bumble bee!

We had a costume constest at work and I just won!  A brand new Palm Pilot!!! 
  Pretty cool, huh?

What is everyone one else?

:)  jessica

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From h-costume-bounces@indra.com  Fri Oct 31 17:58:29 2003
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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Moire silk source
Date: Fri, 31 Oct 2003 22:57:36 +0000
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Status: RO

Thanks Kat,
I will check out this book and do a hunt for others. 

- Marion, (aka Sophia K from Madrone)
> Watered silk wasn't made by getting water on it, but by making a 
> pattern on it which looked like water.
> 
> Before the 18th C this was done by rubbing a fabric with a prominent 
> rib (like a silk faille or some weaves of wool) with glass balls or 
> other smooth hard objects (from Roman times onward). After that it 
> was also made by putting it through a press made with 2 cylinders 
> which squished the fabric between them as it was cranked through with 
> heat and/or moisture in a process called calendering. Until man made 
> fibres which would actually fuse with the heat (such as acetates), it 
> didn't tend to be a permanent finish.
> 
> > I think I see another research project on the horizon. 
> 
> Unfortunately, I can't find which of my many textile books talk about 
> it extensively. The one I could find with a fast search of my 
> "stacks" is:
> 
> _The Final Steps_ by Beverly Gordon ISBN 0-934026-07-6 put out by 
> Interweave Press, Inc.
> 
> Hopefully that will give you a place to start, although I've read 
> about the process in many other textile books where they talk about 
> it more extensively.
> 
> Kat
> <kat@redtrollforge.com>
> 
> 
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Rima wrote:


> 
> But hey, it's Halloween, not an 
> SCA meeting,

My thoughts exactly. (Not to bash on the SCA, but I have lots of 
opportunities throughout the year to wear those costumes.) So for this 
night I like to try something different. The Victorian is the first 
historical I've done for the holiday in quite a few years.



Dawn



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Subject: [h-cost] Now.. Amish strippers
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Carol wrote:

> >'orrible Halloween thought--Amish strippers......
> >
> >I'll just slink off now <BEG>
> >

Speaking of Amish stripper, anyone else seen "The Night They Raided
Minsky's"?

      -Helen/Aidan


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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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I appreciate the comments so far and let me sort of lump a bunch of answers 
here in one spot.

I know what Robin means and I'm really not terribly concerned about the 
clothing looking right - however trying to find a non-jarring background is 
driving me nuts.  OTOH, I know that if I were to reach back in time, pluck a 
shoemaker from 1300 to the present day, along with his setting and photgraph 
HIM, someone would find something to complain about.  That's just the way it 
is.  I can't please everyone, so at best I can try to keep the majority at 
least content (i.e not making perfection the enemy of the good).

OTOH, I respect that done wrong it's going to look cartoony and that will 
lower its credebility.

The book is intended as a general history of medieval shoemaking, as *I* 
think it was done, based on all that research crap and experience :) (the 
working title is "Medieval Shoemaking, History and Techniques")  That means 
that I'm not doing this with 'modern' tools unless I have too.  
Unfortuntaely this means that there's going to be a lot of educated 
speculation, reconstructed tools, and so on no matter what I chose to do.  
(the field is such that if I stuck to only those things that we absolutely 
KNOW unequvocally that they did, it would be about two pages long).  I

I've considered using the drawings only, but I know that for some of the 
techniques that I'd like to present photographs really are required.

I hadn't considered whether having accurate clothes and medieval tools is 
going to intimidate people OUT of trying medieval shoe, but at this point 
the field is pretty well divided between those who would do it with accurate 
tools and techniques if they just knoew how, and those who wouldn't.   This 
is really trying to bring together all the research and knowledge as it 
stands to day for those who really are wanting it.  The people who just want 
to do "period shoes" in whatever way is easiest for them (and don't get me 
wrong, I want to encourage them as well -- the more people out of tennis 
shoes, the better), are not going tot be convinced no matter how easy I make 
it look.

Not to mention that I want the book to be of interest to the Calceological 
community as well, and if I show them "Medieval Shoes" made with modern 
shoes or techniques, they will fall on their rears laughing and the other 
kids will make fun of me on the playground :)

Fran, the contract is with the Chivalry Bookshelf, who were nice enough to 
make me an offer for an as yet unwritten manuscript (and yes, we've played 
all the appropriate contract games and everyone and their lawyers seem to be 
happy)

Marc

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From: Fran Grimble <fran@lavoltapress.com>
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Subject: Re: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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 > OTOH, I respect that done wrong it's going to look cartoony and that 
will lower its credebility.

There are far too many people on the historic costuming community who 
can't tell the difference between a bad book or film or event, and one 
that just isn't tailored to them as a market, or which isn't done 
exactly the way they'd have written/directed/run it themselves, or that 
in short has a different focus than they'd like. But, which does do well 
what it set out to do.  So no matter what your book is like, anyone who 
wants to pick holes in it will find some way to do so. Then again there 
is no need to be on the defensive about this. You must fulfill the 
expectations you set for yourself and your publisher, but you don't have 
to fulfull everyone's.

A common "neutral" background for photos is the Great Outdoors, often a 
local park if your back yard is not suitable. The theory is probably 
that the Great Outdoors hasn't changed much over the centuries, a point 
I'd dispute. But it may be less jarring than an interior background with 
modern furniture etc. You get good natural light . . . .on the other 
hand this time of year the weather may be crummy.

Who is the Chivalry Bookshelf?  Are they a division of the Chivalry 
Sports catalog?

Fran



> Not to mention that I want the book to be of interest to the 
> Calceological community as well, and if I show them "Medieval Shoes" 
> made with modern shoes or techniques, they will fall on their rears 
> laughing and the other kids will make fun of me on the playground :)
>
> Fran, the contract is with the Chivalry Bookshelf, who were nice 
> enough to make me an offer for an as yet unwritten manuscript (and 
> yes, we've played all the appropriate contract games and everyone and 
> their lawyers seem to be happy)
>
> Marc
>
>
>

-- 
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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Am I the only one who finds that shopping for Amish stuff on the Internet
is just wrong in so many ways????!!!!


Karen




On Fri, 31 Oct 2003 13:29:25 -0800 Rima <rima@anet.net> writes:
> Do y'all know about this site????
> http://www.friendspatterns.net/friendscatalog1.html
> Found it by accident.   Naturally, wanna buy everything here, even 
> though this is not my thing at all....  it's just irresistible!
> 
> Rima
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Hello all,

I'm hoping this is considered "On topic", as it relates to documenting a 
historical costume.  I'm creating an Elizabethan gown, and I've never really done 
documentation before.  This is for a competition where documentation matters, 
and I have a limited amount of time (the competition is CC22 in April, but I'm 
a college student.  Studies come first, must be able to feed my addiction 
later!).  I suppose what I'm really looking for are tips on documentation- while 
I was at CC21 I went to a lecture, but the notes I took are 400 miles away.  
The limit is 4 typed pages, but I remember the lecturer (whom, I believe, was 
with AlterYears) spoke of appendices- and that we could have as many of those 
as we wanted.  So...is anyone willing to share a few tips on "good" 
documentation techniques, in terms of presentation and whatnot?

Christine
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Subject: [h-cost] Luther
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Has anyone seen this movie?

http://www.lutherthemovie.com/flash/luther.html

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] Moire silk source
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> Warning: I suspect they use the word "silk" loosely. But they offer
> samples. I've seen a friend's sample set, and there would be enough to
> subject a part of a swatch to a bleach test to find out whether a specific
> brocade is the real thing.

Could you please remind us how the bleach test works? Thanks.
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Date: Fri, 31 Oct 2003 19:29:09 -0500
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Subject: Re: [h-cost]  Wierd question (was  link: "Accurate Reproduction
	Clothing")
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In a message dated 10/31/2003 3:25:09 PM Eastern Standard Time, marccarlson20@hotmail.com writes:

> I am doing a book on medival shoemaking.  There will be several sections in 
> which processes will be demonstrated.  My plan has been to have the model in 
> clothing appropriate to the period being discussed - nothing exciting, just 
> pretty dull working class clothing.  Will this be too big a distraction from 
> the goal of the book, will it be too "cute", it wouldn't 
> look right with 
> someone in modern dress doing it, any thoughts?

Mark,

It sounds to me like you have already made up your mind.  But, I think having people in historical clothing has the opportunity to be just as distracting.  People will critique the clothing, then the tools and such...  Personally, I agree, I don't know the either option is the right one.  And neither option would keep me from being interested in the book.

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
Date: Fri, 31 Oct 2003 19:54:50 -0500
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Greetings--

> Who is the Chivalry Bookshelf?  Are they a division of the Chivalry
> Sports catalog?
>
> Fran

Not at all, as far as I know.  Chivalry Bookshelf started out mainly
publishing things related to historic combat studies--including editions of
extant manuals, collections of papers on historic combat, an edition of
Llull's "Book of Chivalry" a book on Paul of Bellatrix's fighting
techniques, etc. They have recently expressed interest in branching out to
related fields, including clothing (Brian Price, who is one of the people
behind Chivalry Bookshelf, told me at Kalamazoo they'd really *love* a book
on making things like pourpoints, arming cotes, and other combat stuff that
is solidly researched.)  They're good folks, and their books are nicely
done.

Like DISTAFF, they've started sponsoring sessions at Kalamazoo.  (I jokingly
call them the DISTAFF Men's Auxilliary :-)

Susan

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Hey Rima,

Willing to share Vendor names?

Kit
If you walk a mile in someone else's shoes, do you get to keep them? - Kenneth Cole
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Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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On Friday 31 October 2003 09:59 am, Kass McGann wrote:
[snip]

[third-party quote]

>Besides,
> the guide
> is in danger of knocking things off tables with her skirts.
>
> Pul-eeze! Only if she's a complete cluts!

But some women are.  Did you see the recent movie "Anna and the King" with 
Jodie Foster as Anna?  "Anna" is set in the 1860's, the height of the wide 
round-bottomed crinolines, and Foster was so awkward in them, it was 
pathetic.  (Particularly since her character was supposed to be a proper 
Englishwoman who would have been dealing with them for years....)

It's possible to be intelligent and still not have a clue as to how to move 
well in a large skirt.  :-)



> I can't disagree with you there.  But he goes on to almost completely
> contradict himself and say that accurate reproduction clothing is
> important.  If you're going to do it, do it right.
>
> How big, exactly, does he think "Victorian" clothing is I wonder...

That may not be the issue.  The issue may be how small the rooms are, and how 
much furniture is in them.  My recollection is that late Victorian parlors 
tended to be small and crowded with furniture, and abounded in what we now 
call knick-knacks of every description.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Moire silk source
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On Friday 31 October 2003 05:09 pm, Kass McGann wrote:
> Nope. That's another technique. I always called it "warp printed" but
> there's
> a Japanese name for it too. It creates a fuzzy, out of focus pattern,
> usually
> of flowers.
>
> It's called "ikat" and that's not actually the Japanese name for it.  I
> believe it was originally a Middle Eastern technique.

Huh.  I thought the term "ikat" it was Indonesian.  

At any event, the use of ikat is not confined to silk.  It's also done with 
cotton, particularly in Indonesia and other parts of SE Asia.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Bleach test for silk/wool (was: Moire silk source)
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I wrote:

> > Warning: I suspect they use the word "silk" loosely. But they offer
> > samples. I've seen a friend's sample set, and there would be enough to
> > subject a part of a swatch to a bleach test to find out whether a specific
> > brocade is the real thing.

Audrey wrote:

> Could you please remind us how the bleach test works? Thanks.

Here it is as I posted a while ago:

-----

Date: Wed, 11 Dec 2002 00:51:46 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: h-costume@indra.com
Subject: Re: [h-cost] burn test question/properties of rayon

On Wed, 11 Dec 2002, [iso-8859-1] Bella wrote:

> Can someone please point me in the direction of
> instructions/directions on how to perform the "bleach test"? Sounds
> fascinating and definitely something I'd love to learn. :)

Very easy. I learned it on this list, I think. I knocked the socks off my
manager at the shop, because we had no way before this to differentiate a
pure wool from a wool-and-natural-fiber blend.

Wool and silk dissolve in bleach. Cotton, rayon, and linen do not. Do a
burn test first to identify synthetics (hard bead or plastic residue). If
you have a natural fiber, narrow it down by doing the following.

Cut a small swatch -- half an inch square, or larger if you've got
multiple types of threads (e.g. a stripe or plaid) so you can get samples
of all the threads in one swatch. Put a little bleach (maybe 1/2 inch) in
a small jar (like a baby food jar) or a glass/pyrex custard cup, and add
the swatch. I use a toothpick or plastic spoon to poke the swatch down so
it's wet through. Leave it for a few hours or overnight.

Wool will disappear completely -- the bleach will look perfectly clear.
Silk will disappear but usually leave a bit of residue. (Perhaps that's
the seracin?) Cotton, linen, and rayon will remain intact, though may lose
their color.

A blend will dissolve in parts. For instance, in a wool/rayon blend where
each thread is made of multiple fibers, the wool fibers will dissolve and
you'll end up with a tangled mess of rayon fibers. If you have a fabric
where whole threads of wool or silk are interwoven with whole threads of a
non-animal fiber, such as some plaids or checks, you can get a nice grid
pattern remaining, with empty spots in the interlacing where the animal
fiber used to be. If one fiber is warp and one is weft, you'll end up with
a row of the non-animal fibers lined up neatly in the bottom of the cup.

It's fun to watch this happening. Wool will fizz slightly, like when you
put peroxide on a cut. Check on it every little while and poke it with the
toothpick to break up the fibers if necessary; it can take a while for the
bleach to penetrate a thick fabric.

--Robin



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Marc Carlson wrote:
> clothing looking right - however trying to find a non-jarring background 
> is driving me nuts. 

Stone walls?  Gothic panels inside a nearby church?

As far as the clothes, why not simplify your problem: show the shoes 
from the knees down?  Your model can wear the proper hosen, garters, 
etc, and not worry about the rest, plus you'd get a larger picture of 
the shoes if you're not showing the whole person.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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On Fri, 31 Oct 2003, Susan Carroll-Clark wrote:

<Chivalry Bookshelf> 
> Like DISTAFF, they've started sponsoring sessions at Kalamazoo.  (I jokingly
> call them the DISTAFF Men's Auxilliary :-)

Tee hee. I hadn't heard that.

Especially funny since one of their session organizers (female!) gave a
paper in a DISTAFF session last year (when we had a whole session on
martial clothing, including a paper on practical issues of
poupoints/gambesons/arming cotes).

--Robin

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I would not find the appropriate period clothes distracting. I love books
that show people in really accurate clothing, and I don't find it
intimidating. I would go for it!

Gail Finke


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Subject: Re: [h-cost] Re: How high on thigh socks come?
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On Fri, 31 Oct 2003 seamstrix@juno.com wrote:

> Am I the only one who finds that shopping for Amish stuff on the Internet
> is just wrong in so many ways????!!!!

I was less confused when I saw the catalog wasn't just Amish -- it covered
Mennonite too. When I was in college, I used to date a young man who was
Mennonite; he was studying computer science and had an on-campus job as a
programmer. On Sundays, we'd drive a half-hour into the countryside to
join his family for church and Sunday dinner. None of them seemed to have
any trouble stepping from one world into the other.

As for the pattern company, I expect their Amish clients shop from a paper
version of the catalog. It also looks like most of the catalog is not
on-line -- I saw only the three dresses. I'd love to see the rest. There's
an email address on the site, but no reference to how to get the catalog
or see any of the other patterns. My guess is that if you have to ask, you
don't belong there...

--Robin

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If it's for Chivalry Bookshelf, then definitely period clothes. Most, if not
all, of their books include pictures of people in period clothes.

Gail Finke

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On Fri, 31 Oct 2003, Cynthia Virtue wrote:

> As far as the clothes, why not simplify your problem: show the shoes
> from the knees down?  Your model can wear the proper hosen, garters,
> etc, and not worry about the rest, plus you'd get a larger picture of
> the shoes if you're not showing the whole person.

Marc will correct me if I'm wrong, but my impression was that Marc was
asking how best to handle photographs of shoemaking techniques, not
finished shoes on models. So the focus (if I understand correctly) would
be on the craftsman's use of tools and materials (e.g. how to hold things,
how to use a tool, working position, etc.), not on the look of the
craftsman himself, which would be incidental. There's a legitimate concern
that it might be distracting (and maybe a misplaced effort) to try to
achieve a period look with the craftsman (clothes, hair, facial and body
type, etc.) as well as his workspace (table, the chair, walls, lighting,
etc.).

I'd agree that for photos of shoes on a model, the model (or what shows of
him/her) should be dressed in correct period to the shoes.

--Robin

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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Law9-F493EnBtH8PpMb00012f37@hotmail.com>
Subject: Re: [h-cost] Wierd question (was  link: "Accurate Reproduction
	Clothing")
Date: Fri, 31 Oct 2003 17:45:54 -0800
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I think an accurate model would add to the book and not be a distraction as
long as he or she was dressed to match the shoe style.  The one thing I get
fixated on apart from eyeglasses, is eyebrow styles.  Don't know why this
stands out for me, but I find it jarring to see anachronistic eyebrows on
models.  Mind you, I don't alter my eyebrow style for demonstrations, but I
guess I don't look at myself.

I look forward to your book.  Do let us know when it has been published.

Lisa Sinervo


----- Original Message -----
From: "Marc Carlson" <marccarlson20@hotmail.com>
To: <h-costume@indra.com>
Sent: Friday, October 31, 2003 12:25 PM
Subject: [h-cost] Wierd question (was link: "Accurate Reproduction
Clothing")


> Ok, I have a weird question that this thread has made me think of.  I'm
not
> sure there's a right answer, but some opinions would be appreciated.
>
> I am doing a book on medival shoemaking.  There will be several sections
in
> which processes will be demonstrated.  My plan has been to have the model
in
> clothing appropriate to the period being discussed - nothing exciting,
just
> pretty dull working class clothing.  Will this be too big a distraction
from
> the goal of the book, will it be too "cute", it wouldn't look right with
> someone in modern dress doing it, any thoughts?
>
> Marc
>
> _________________________________________________________________
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Subject: Re: [h-cost]  book on medival shoemaking
Date: Fri, 31 Oct 2003 20:12:38 -0600
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Sounds like a plan! :)

Chiara
----- Original Message ----- 
From: <SNSpies@aol.com>
To: <h-costume@indra.com>
Sent: Friday, October 31, 2003 4:08 PM
Subject: Re: [h-cost] book on medival shoemaking


:
: Actually, as someone that is contemplating doing the same thing with
: gloves this is something that I have been thinking of.
:
: Chiara, interested in collaborating??  I've got a lot of research here on
: period (medieval and Renaissance) hand coverings ...
:
: Nancy
:
:
: ***********************************************************
: Nancy Spies         Ingvild Josefsdatter, OL
: Arelate Studio      Barony of Bright Hills, Atlantia
: http://www.weavershand.com/ArelateStudio.html
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From h-costume-bounces@indra.com  Fri Oct 31 21:20:35 2003
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Date: Fri, 31 Oct 2003 18:02:37 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: [h-cost] Re: since it's Hallow'een716
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At 3:51 PM -0600 10/31/03, zski@ripco.com wrote:
>I'm wearing my Flemish kirtle and gown, and have already had to pull my
>skirts out of the wheels of my desk chair 4 times now.


Oh, I can sympathize!  The hanging sleeves of St. Bathilde's "grand 
robe" do _not_ go well with office furniture.

I almost chickened out on changing into costume, since pretty much 
nobody else at the company was wearing one, but got talked into it at 
the last minute for the company Halloween party.  At least one person 
got in the right neighborhood by identifying me as a "damsel in 
distress" -- I wasn't exactly expecting anybody to recognize a 7th 
century Merovingian queen. :)

Heather
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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost]  Wierd question (was  link: "Accurate Reproduction 
 Clothing")
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While I understand the concerns in many of the responses, I'll put in 
my vote for carefully done, accurate historic models adding greatly 
to the visual pleasure of the book.  Good visuals have the potential 
to catch the interest of a market segment that might not be as 
thoroughly hooked by line-drawings alone.  And it would be a shame if 
those who have the interest and resources to put out higher-accuracy 
visuals faltered for fear of being imperfect ... leaving the field to 
those with less interest and fewer resources.

Heather
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From h-costume-bounces@indra.com  Fri Oct 31 23:05:25 2003
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Date: Fri, 31 Oct 2003 20:04:44 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
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Subject: [h-cost] Since it's Halloween----and tranistions---
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Well---my retirement party, last night,  was a Halloween party:) I had'nt purposefully planned that my last day be Halloweeen--it's just that the timing  for me leaving worked out to be best  by october 31st:) Considering what I've been doing all these years on the side( historical costumne re-creation) several of my co-workers, as well as my bosses--thought it terribly appropriate. 
So, today, I also came into work for my last day in  costumne. Although I'm usually in medieval or 16th cent spanish or italian mode(lots of SCA) I also play with Victorian and Regency groups. So, I trotted out an 1880's  reception bustle gown which I wore both last night and today. Made for some great conversations. Especially since it was a bit of an advertisement for my new 'business' --doing bridals, formals , and historical re-creations. With my bosses' permission I spent today going to all the offices in the area  I'd worked in --saying 'goodbye' and handing out my business card as I went.
 
As a side note --I worked in the telephony industry---and had, for years ,been saving all the old used  electricion's cable tie wraps to use in corset construction.I even had the fellows on the heavy construction crew all 'trained ' to save me their used (clipped ends)
bits:) Well, as I said 'goodbye' to the construction crew----I also mentioned that I was wearing those old cable ties in my costumne much to their amazement and amusement:) 
Albra


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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re:16th century sock clocks?
Date: Fri, 31 Oct 2003 21:37:03 -0700
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Sorry I missed the original post, but there is a reference to Mary QOS
wearing clock worked socks to her execution.  There are several Elizabethan
portraits of men with "clocked socks."   Someone here seems to know some
German reference to them (about which I have no knowledge), but I wonder if
the term comes from a German one Glock (bell) or Gluck (luck-sorry no umlaut
available) .  A "bell" shape might refer to the ease mentioned in earlier
posts.




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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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Fran,
Oh, absolutely - some people will pick at it no matter what.  I'm just 
hoping that I can keep it to a minimum (a naive desire, I know).  I know 
specific people who ARE going to attack it, no matter what I have to say 
because I'm the one saying it, and several others because it won't be done 
they way THEY would have done it.  I'm ready for them.

Outside - now THAT's something I hadn't considered.  Thank you , I hadn't 
considered that.

Kit,
It's not so much that I've made up my mind already, as that I have a plan 
and am trying to test it out *before* I've committed things to photographs 
and wasted materials.  I'd just feel more confident if I were doing 18th or 
19th century shoemaking.

Hmm, if I do the pictures in so-so clothing, maybe this would distract 
people from the areas where I need to speculate... :)

Marc

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From h-costume-bounces@indra.com  Fri Oct 31 23:42:09 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Sew on Tudor Jewels-painted black diamnonds
Date: Fri, 31 Oct 2003 21:41:32 -0700
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Hi Victoria, congratulations on your 'coming out'!  :)
Tell us more about diamond cutting if you can.  What is it about table cuts
that made the diamond look dark?  Why were they popular if they were so
dull......I have a young man in my biology class that sells diamonds.  He is
learning too about them, but is having a hard time explaining how they could
be so dark and why they were attractive to people....


Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Tori Ruhl
Sent: Wednesday, October 29, 2003 10:54 AM
To: h-costume@indra.com
Subject: [h-cost] Sew on Tudor Jewels

Hello!

After lurking for weeks, this is my first official post :)
I think these replicas are beautiful, but take into consideration that
diamonds were often painted black in portraiture (due to lack of complicated
faceting and less light being refracted). So a lot of these replicas that
are produced using Onyx are inaccurate. But they do have lovely things!
*drool*

Victoria Ruhl
Jewelry fanatic and wanna-be costumer.



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From h-costume-bounces@indra.com  Fri Oct 31 23:49:19 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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Hi Marc, have you considered taking pictures of people wearing shoes where
just the lower leg and shoe are shown?  Maybe just a well turned calf and
shoe or a discreetly shown shoe and ankle juxtaposed with a painting of the
whole outfit would be interesting without being distracting.  Might that
convey what you are after without all the complications you are considering?


Sg

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Marc Carlson
Sent: Friday, October 31, 2003 9:39 PM
To: h-costume@indra.com
Subject: [h-cost] Re: Wierd question (was link: "Accurate Reproduction

Fran,
Oh, absolutely - some people will pick at it no matter what.  I'm just 
hoping that I can keep it to a minimum (a naive desire, I know).  I know 
specific people who ARE going to attack it, no matter what I have to say 
because I'm the one saying it, and several others because it won't be done 
they way THEY would have done it.  I'm ready for them.

Outside - now THAT's something I hadn't considered.  Thank you , I hadn't 
considered that.

Kit,
It's not so much that I've made up my mind already, as that I have a plan 
and am trying to test it out *before* I've committed things to photographs 
and wasted materials.  I'd just feel more confident if I were doing 18th or 
19th century shoemaking.

Hmm, if I do the pictures in so-so clothing, maybe this would distract 
people from the areas where I need to speculate... :)

Marc

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From h-costume-bounces@indra.com  Sat Nov  1 00:04:01 2003
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Subject: Re: [h-cost] Sew on Tudor Jewels-painted black diamnonds
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I'm certainly no expert on diamond cutting, but from the period examples
I've seen at the V&A, the cutting technique seems to be fairly simple and
much closer to what we think of as an 'emerald cut'. It has far fewer
facets so the light isn't reflected into the interior as well. They don't
actually look solid black, they look a bit 'smokey'. The overall look is
a crystal sort of black (is this making any sense?) and would most
effectively be rendered in paint as a greyish black. Actually, diamonds
weren't that popular in jewelry during the Elizabethan period, they were
considered a bit of a novelty. The colored stones were much more popular,
as they showed to advantage even with simpler cutting techniques, as well
as pearls and enameling. The era of the diamond didn't really begin until
the late 18th-19th century when cutting techniques advanced to the stage
where a great deal of light could be reflected within the stone and
produce the sparkle we associate with diamonds today.


Karen


On Fri, 31 Oct 2003 21:41:32 -0700 "Saragrace T. Knauf"
<saragrace@earthlink.net> writes:
> Hi Victoria, congratulations on your 'coming out'!  :)
> Tell us more about diamond cutting if you can.  What is it about 
> table cuts
> that made the diamond look dark?  Why were they popular if they were 
> so dull......I have a young man in my biology class that sells 
> diamonds.  He is learning too about them, but is having a hard time 
> explaining how they could be so dark and why they were attractive to 
> people....

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Status: RO

I'm glad to hear Chivalry Bookshelf is finding some books on non-martial
subjects.  For a couple years now, I have been nagging them that while their
martial books are very nice, costume people spend WAY more money on books
than fighting types.  And there is so little competition in medieval and
renaissance costume books (i.e. there are only a dozen in print that I could
unreservedly recomend).

My advice on photos is to get someone who knows what he or she is doing.
With all the automated cameras, there are many people who think that since
they usually get shots that are properly exposed and in focus, they are
capable of doing semi-professional photography.  For most of these shots, I
would think that you would want shots that come in fairly close to the
person's hands.  In this situation, a good photographer will focus
exculsively on that area and let the background be very blurry.

If you are going with black and white for economy's sake, have the final
prints printed at a lab that specializes in custom black and white work.  (I
am thinking of film here - if you are using a digital camera, I don't know
anything about it.)  Labs that do your 4x6 prints of birthday parties do an
awful job of black and white - they have very little call for it and aren't
set up for it.  If you are in charge of ordering the final prints, try to
find out how much contrast they will pick up in the book printing process,
as your lab can compensate by making your prints flatter.

I will definately be looking forward to seeing this book!

Janet

Janet Davis
Castle Furnishings
http://www.medievalbookstore.com

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At 05:45 PM 10/31/2003 -0800, you wrote:
>The one thing I get
>fixated on apart from eyeglasses, is eyebrow styles.  Don't know why this
>stands out for me, but I find it jarring to see anachronistic eyebrows on
>models.


Eyebrows? Why eyebrows? And how would modern eyebrows be anachronistic? 
This is an area I hadn't heard of before.

Kimiko


Kimiko Small
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kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] since it's Hallow'een
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At 02:11 PM 10/31/2003 -0800, you wrote:
>but it's
>always been up to them to decide what they wanted to be and my job to make
>it so.
>
>LynnD


I like your attitude. I hope when my son is old enough to have his 
opinions, that he too will challenge me on my skills for his Halloween outfits.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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At 01:20 PM 10/31/2003 -0800, you wrote:
>>Pul-eeze! Only if she's a complete cluts!
>
>Yeah, that bugged me too.  Sheesh!   Doesn't he think we know how to 
>manage our garments??????
>
>Rima


I will admit, the first few times I wore a hoop skirt, I fell flat on my 
face during processions. It took time and practice to wear the thing ok. I 
am still having to remember how to walk like a lady, and not like I 
normally do, which is much more manly. Makes me look like I am stomping 
about in my hoops if I forget.

Kimiko



Kimiko Small
Costumer, Fiber Artist, Web Designer, Wife and Mother
kimiko@kimiko1.com; http://www.kimiko1.com
"When there is fear, there is no creativity" ~ C. Lowell

Graphic Intern at Costume Gallery
http://www.costumegallery.com

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Since it's Halloween----and tranistions---
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On Friday 31 October 2003 11:04 pm, KATHRYN WOLTERS wrote:
> Well---my retirement party, last night,  was a Halloween party:) I had'nt
> purposefully planned that my last day be Halloweeen--it's just that the
> timing  for me leaving worked out to be best  by october 31st:)

That's not as bad as what I did once; starting a new job on December 31st.  
:-)  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Wore my new coat-of-CDs.  I decorate my front porch every year and sit out
there.  The kids love it and it keeps the older teenagers from vandalizing
the neighborhood if they know an adult is outside and watching.  The last
two years now my morris team, the White Rats, have come to hang out and 
dance in the front yard.  Having a bunch of adults swinging sledge hammers
around to accordion music *also* tends to scare away any would-be vandals. ;}

It was cold tonight, though at least it didn't rain on us.  I wore black
knee-length pants, a black velvet shirt, my knee-high buckle boots that
have had retroreflective tape applied to the straps, a wool jacket, then
the coat of CDs over that.  And my blue top hat with all the weird jewelry
and ribbon trims on it and glow in the dark fimo jewelry.  If you do the 
GID polymer clays right, you can get what looks like ivory in normal light.
Paint black details on that, and it also looks great under blacklight.

The front porch was once again the Mad Scientist's Lab.  I changed my lighting
setup a little this year, so my lab gadget lights didn't clobber the 
blacklight effects.  There was a popular motion for me to add a brain in a 
jar for the next iteration of The Lab.  And I need to add a couple very small
battery-powered blacklights on specific items to get the correct effects.
The neighborhood kids love my house on Halloween.  About five years ago, I
did a vodou altar that scared some of the little ones so much that they 
wouldn't come up the front steps.  

I didn't quite finish my new coat.  It's still missing a row of CDs off
the front and I forgot to put the chain closures on it.  I had one CD crack
and fall off, however it was one I wasn't sure I wanted there in the first
place.  It felt like it was restricting my arm movement too much.  So I left
that spot blank on the other side until I was sure.  I think I'm sure now. ;}
Since Kayta showed up in her tatter coat that was also half finished, I 
didn't feel too bad. [grin]

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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	Clothing")
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Kimiko Small <kimiko@kimiko1.com> wrote:
> 
> Eyebrows? Why eyebrows? And how would modern eyebrows be anachronistic? 
> This is an area I hadn't heard of before.

There have been many fashionable eyebrow shapes in history.  Goodness, 
just look at glamour photos from the last 60 or 70 years, and you'll see
a huge difference by time period.  From the 20s straight brow to the 40s 
almost-invisible high arch, to the late 70s fashion model wings, to the
80s bushy brows.  Current fashion appears to be to biased towards a slightly
heavier, angle-shaped brow, rather than an arched or straight one.  This is
the type of thing you notice if you do fashion photography or makeup.  For
examples of modern styles, Kevin Acouin's "Making Faces" is still one of the
better introductions to fashion makeup.

Then there's the elizabethan habit of plucking the _hairline_ as well to 
create a high brow (no plucking required for me).  Or the heian japanese 
fashion for shaved/plucked  brows that were redrawn much higher on the 
forehead.  So I can see why someone wearing the most fashionable _current_
brow shape would be jarring if they're in period clothes for a photograph.

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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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IMO you need to get beyond the idea of who will attack the book--and 
stick firmly with the idea of who will buy it and find it useful. Sure a 
few people will attack you, because they don't like you personally or 
they're jealous or whatever. Who cares?  It's hard to explain, but I 
think you have or will gain a sound internal sense of whether your book 
is good or not. And your editor will give you external feedback.  Also, 
the book will be marketed to large numbers of people, and I assume your 
publisher will be printing and selling some thousands of copies.  (Did 
they tell you how many?) The vast majority of readers give no feedback 
at all.   If thousands of them have bought the book and not complained, 
and one person flames you on the net because they didn't like the 
hairstyles on your models, it's the majority of (quietly satisfied) 
readers who really count. Even if you're not Danielle Steele (and with a 
topic like medieval shoemaking you will never have her sales) you're 
still playing a numbers game.

You need to choose your audience and focus on them. The better you focus 
on one audience, inevitably the less well you will focus on others. You 
may be able to write a book that is well focused for two audiences, 
maybe even more; but not many. It would help to first sort them into 
major and minor audiences, and do most of your work for the major 
audiences. Then mention the minor ones in the marketing copy (back 
cover, etc., if you are involved with that) knowing that some, but 
relatively few, people in the minor audiences will buy the book.

I don't know how much interaction you have with your editor at this 
point. I spent some years as a developmental/project editor for a 
midsize book publisher. Throughout each project we held our authors' 
hands as much as necessary; which for some was quite a lot. If your 
editor is willing to help you at this stage, he or she may have very 
useful advice on how to use photos, and suchlike, based on their 
experience editing other books, and how they produce their books (do 
they want interior color, for example?).  They may even recommend 
photographers.  BTW, get them to pay for all photographic costs if you can..

Your editor may also have some very helpful ideas on the best audiences 
for the book and how to appeal to them.

Fran

-------------------------------------------
Lavolta Press Books on Historic Costuming
http://www.lavoltapress.com
Historic and Vintage Dance
http://www.lavoltapress.com/dance


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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] since it's Hallow'een
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I got a picture...


http://www.reddawn.net/costume/halloween/Mvc-877f.jpg




Dawn




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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Was Clocks now Graph Paper
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> > >http://www.mathematicshelpcentral.com/graph_paper.htm
> >
> > Knitting needs a rectangular grid, not a square one.  But thanx
> > anyway.
>
>Have you looked at the program?

Yes, which is why I responded as I did.  But if you say this program can 
generate rectangular grids, I'll look further into it.


        CarolynKayta Barrows
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          www.FunStuft.com

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re:16th century sock clocks?
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>Knit stockings being so new in the 1500s, other than in the Germanic 
>countries,  I can't imagine them being imitated/faked with embroidery for 
>decoration quite that early  (in England they didn't show up until around 
>Queen Elizabeth's time... and even then they're pretty rare... sigh... I'd 
>been trying to come up with a Henry VIII character for faire that would 
>knit.  No luck unless German.)

Knitting is older than knit stockings.  Your character could knit caps like 
the ones found on the Mary Rose.


        CarolynKayta Barrows
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: RE: [h-cost] link: "Accurate Reproduction Clothing"
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>A case in point: last time I visited the site, I noticed that Mount
>Vernon's tour guides were dressed (at least, in summer) in khaki
>slacks and a green polo shirt with the site's logo on it.
>
>They also had one or two people in accurate historical costume doing
>a first-person impression -- the woman I encountered was portraying
>Lady Fairfax.
>
>I think this is the best of both worlds.  The site doesn't have to
>spend a lot of money clothing the tour guides, but the tourists get
>to encounter someone doing a high-quality, well-researched
>first-person impression.  And, after all, tourists do want to see
>someone in costume when they go to a site.

Some museum and historical site folks don't want to dress up in 
costumes.  Having these people in in modern clothes makes them naturals for 
answering the questions the folks in the costumes can't, in character, answer.


        CarolynKayta Barrows
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: How high on thigh socks come?
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>>Are you knitting from the toe up?  I always thought sox were knitted from
>>the top down.  Do you have documentation on toe-up knitting?  I'd love to
>>see it, as it would make several things easier.
>>
>>  >Carol, with a knee warmer rapidly turning into a sock!
>
>Nope top down, carefully sliding tube + needles over chunky leg to measure 
>& check fit... wondering how high up the thigh the sock should go...

Thanx.  And yes, I have the same problem making the socks the right size 
the first time.  The second sock is always easier and faster...

>'orrible Halloween thought--Amish strippers......
>
>I'll just slink off now <BEG>

EEEWWW!  Yes, I think you'd better slink off somewhere ;)


        CarolynKayta Barrows
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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>>  Besides, the guide
>>is in danger of knocking things off tables with her skirts.
>>
>>Pul-eeze! Only if she's a complete cluts!
>
>Yeah, that bugged me too.  Sheesh!   Doesn't he think we know how to 
>manage our garments??????

And that's why they're not just costumes, because we know how to live in 
them and make them to be lived in.


        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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