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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] hair 
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Lee Thompson-Herbert wrote:

> Then there's the elizabethan habit of plucking the _hairline_ as well to 
> create a high brow (no plucking required for me). 


I went looking a couple months ago on that, and I am now wondering if 
this isn't one of those 'costume myths' that's being repeated in books. 
Granted, I didn't do exhaustive research, just looked through a dozen or 
two portraits in history and art books from the period, but it didn't 
seem like foreheads were being plucked to me. The line in the supposedly 
plucked portraits wasn't noticeably higher than the non-plucked portraits.

I did notice in some portraits the sitter seemed to have had the hair at 
her temples either shaved or plucked. This didn't make a higher 
forehead, but it did create a *wider* one.

I was looking at hairstyles and hats at the time, and I also remember in 
one book the author was repeatedly pointing out that married women 
covered their hair and only unmarried women wore it loose, and that 
blanket statement really started bugging me too, but that's a completely 
different topic for investigation....



Dawn



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From: "Helen Pinto" <hpinto@mindspring.com>
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Subject: Re: [h-cost] Was Clocks now Graph Paper
Date: Sat, 1 Nov 2003 03:09:48 -0500
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When I originally posted the site, I noted that it was customizable.  You
need to be in the design menu, and select "standard rectangular".  In this
menu, click on "change" for the abscissa and/or ordinate, and make
adjustments in the scale menu.
For example, to produce a 2x3 horizontal grid (height by width), change the
abscissa minor line to 2 and major line to 3, and the ordinate major and
minor lines to 2.  This will give you paper with the minor boxes (outlined
in blue) made up of a 2x2 square, and the major boxes (outlined in black)
made up of a 2x3 of the smaller 2x2 boxes.  For a 3x2 vertical grid, reverse
it.
Any ratio is possible; just make the appropriate adjustments to the
abscissas and ordinates.
Having explored the other formats this evening, I'm seriously impressed with
how many variations are available in each.  Pretty sophisticated and nice to
have.
               -Helen/Aidan


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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] since it's Hallow'een
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At 12:55 AM 11/1/2003 -0600, you wrote:
>I got a picture...
>
>
>http://www.reddawn.net/costume/halloween/Mvc-877f.jpg


Hi Dawn,

Ooooohhhhh, pretty. I am definitely thinking of purple or magenta for my 
Victorians now.

Thanks for sharing!!

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] since it's Hallow'een
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At 10:26 PM 10/31/2003 -0800, you wrote:
>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.


Hi Lee

Thanks for sharing what you did. I had my first real Halloween ever in 37 
years (long story), but with minor decorations. However, I already want to 
do more for our front porch next year.

I know it isn't costuming specifically, but how do you balance black light 
and regular light? My black lights were too dark, so I had to add in 
regular lights just to let people know our home was open for trick or treating.

And thanks for that GID polymer clay info. I am going to have to look for 
some of that.

If you have any photos of tonight's setup, I would love to see them.

And to make it costume related, how does one deal with wearing black 
costumes, yet not appear to disappear into the night?

And I hope you all had a Happy Halloween, I know I sure did.

Kimiko
Basking in the glow of a good Halloween evening.



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] hair
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 6:09 PM
Subject: Re: [h-cost] hair


> Lee Thompson-Herbert wrote:
>
> > Then there's the elizabethan habit of plucking the _hairline_ as well to
> > create a high brow (no plucking required for me).
>
>
> I went looking a couple months ago on that, and I am now wondering if
> this isn't one of those 'costume myths' that's being repeated in books.
> Granted, I didn't do exhaustive research, just looked through a dozen or
> two portraits in history and art books from the period, but it didn't
> seem like foreheads were being plucked to me. The line in the supposedly
> plucked portraits wasn't noticeably higher than the non-plucked portraits.
>
I can't say I've ever noticed it in Elizabethan portraits,
but they definitely plucked the forehead under 15th
century hennins. Those hairlines go back so far! I
often curse my low forehead looking at them and
think 'I am not plucking my forehead, I am not plucking
my forehead....'.

Claire

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Kimiko Small <kimiko@kimiko1.com> wrote:
> 
> I know it isn't costuming specifically, but how do you balance black light 
> and regular light? My black lights were too dark, so I had to add in 
> regular lights just to let people know our home was open for trick or treating.

Our house is L-shaped, and there's a set of lights at the corner of the
garage.  I made sure those were on.  I also put a portable worklight out,
clipped to the underside of the roof gutter.  It was pointed out on the
yard, not our porch, so it lit up the place, but didn't destroy my Lab
area.  I also had blue rope lights as part of the lab bench setup which
gave some light.  And then two 18" blacklight fixtures and a CF blacklight
bulb in the porch light fixture.  Ah, and a rotating multicolored light
that has a whopping 4 watt nightlight bulb in it.  I plan to buy a couple
of the blacklight flashlights for next year and use them selectively.  Sparky
our late lab assistant looks great under blacklight, but since I have to sit
him on the edge of the porch, he usually doesn't get much of the light.  A
very small blacklight taped to the railing above him would fix the problem.
Same with the plastic cylinder.  Though there's been a popular motion for me
to put a brain inside that contraption next time around.

You can see last year's photos on this page:
http://gw.retro.com/employees/lee/AtomicJackalope.html

I was still using one blue set and one white set of rope lights when
those photos were taken.  The white ones tended to wash out my blacklight
effects, I found.  And the rotating light had a 15watt bulb in in back then
(found the bulb broken last night and stuck the first one that would fit
into it this afternoon).  Both those changes helped give me a consistant
light level that could be seen on the street, but didn't wash out my 
blacklights.  The blue glowing stuff in the flasks is tonic water, by the
way.  The quinine in it glows blue under UV light.  The lightning ball stand
is styrofoam painted with black acrylic and glow paint (I bought glow pigment
from Terror By Design, a haunted house supplier.

http://www.terrorbydesign.com/

The DNA model is a kid's styrofoam kit that I painted with Hot Shots UV
reactive acrylic paints.  I mixed some of the Hot Shots red in with a regular
red acrylic paint to do the big glowing ZERO on the "This lab has worked [0]
days since the last fatal accident" sign.  It looks like a very bright red
under normal light, unlike the dayglow red which has a pink cast to it.


> 
> And thanks for that GID polymer clay info. I am going to have to look for 
> some of that.

I like Premo brand the best.  It's easier to work than Fimo, and is 
considerably stronger than any of the other brands.  It's also completely
compatible with translucent liquid Sculpey (made by the same company), which
can be used to "glue" clay components together or reinforce thinner pieces.
I actually bought the glow Primo, then added more of that glow pigment powder
and some TLS.  It means it's a very soft clay, but the advantage is that I
can use brass stampings as molds more easily than I could with a stiffer clay.

For more on polymer clay, faux gemstones, molds, faux ceramics (you can make
some impressive victorian "painted china" effects with it), and techniques,
see the Glass Attic:
http://www.glassattic.com/

> And to make it costume related, how does one deal with wearing black 
> costumes, yet not appear to disappear into the night?

You can add small details, like metallic or light-colored trims.  Or if
you're doing fantasy stuff, you can branch out into glow pigments/paints/clays
and lighted detailing.  You can now buy plug'n'play electroluminescent wire
kits (ELwire from here out), self-contained LED blinkers of innumerable sorts,
LED and EL pannel kits, and even small cold cathode neon tubes.  The WorldCon
photos on my page are actually kind of tame, since both those costumes 
aquired even more blinkie lights later on.  Ah, and don't forget 
retroreflective tapes, trims and vinyl patches.  There's now "stealth" 
retroreflective tapes, which are black, blue, green, red, yellow, and even
purple now.  They don't "flash" until light hits them dead on in a dark
environment.  I have some 3M Solas tape on my wheelchair's flag, and one
of the photos they took, the flash off the tape looks like a spotlight.
I've got retroreflective tape glued onto the straps of my cheapie buckle
boots (hey, $40 at Hot Topic).

The other thing I did for the Rats at their last gig (the Exotic Erotic Ball),
was to do face paints.  We used UV reactive face paint (Kryolan makes one 
that simply makes you look pale until you hit the blacklights).  So they all
had very pale faces, then black domino masks around the eyes, and details
painted in blue UV reactive paint (also transclucent until UV light hits it).
One of the girls had me draw "666" on her forehead.  And our balding english
gentleman had me write "VOID" across his ever-increasing forehead. ;}

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: "Megan M." <megan@benchite.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Re:  Marc Carlson's Medieval shoes book
Date: Sat, 1 Nov 2003 08:13:09 -0500
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I for one am eagerly awaiting your book and would like you to post the
order/pre-order info here as soon as it is available.  Shoes are one of the
things I have not tackled yet, and my garb would look so much better if I
did.  Please write as fast as practical, so we can learn.  Thanks so much
for posting here!!!!  And I think a nice plain outfit, tunic/trews would not
detract from the book at all.  As long as the person's clothing was not too
flashy, just plain work clothes, it should work just fine from my viewpoint.
-Megan


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From h-costume-bounces@indra.com  Sat Nov  1 09:23:09 2003
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Date: Sat, 01 Nov 2003 07:24:51 -0700
From: Sue Clemenger <mooncat@in-tch.com>
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I'd planned on doing a pirate outfit (arrr) for work, but ran out of
time.  I have the pattern for a tricorn hat, beads for my hair, and I
was going to base my outfit on 18th c. patterns, which I don't often get
to play with.
Oh well, maybe next year!
--sue

Dawn wrote:
> 
> 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 h-costume-bounces@indra.com  Sat Nov  1 09:53:51 2003
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Subject: Re: [h-cost] FW: How the linen that we love came to be what it
	is.-some  RussianHistory
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Hey, cool.  Thanks for sharing.
--sue, who regularly melts plastic at fabrics-store.com <g>

"Saragrace T. Knauf" wrote:
> 
> Thought I would send this along for you Russian and Linen buffs.
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From h-costume-bounces@indra.com  Sat Nov  1 11:28:35 2003
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Subject: Re: [h-cost] since it's Hallow'een
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I went as Snow White.  I spent about 40 hours on the costume based on a 
Moretto painting.  :D  But in the red/blue/yellow color scheme.  It's 
quite fetching, if I do say so myself.  :)
Althea

On Friday, October 31, 2003, at 01:26 PM, AnnBWass@aol.com wrote:

> 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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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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> What are you dressing up as tonight?
Wore a yellow oriental theme robe and panel coat at the office.
Gypsy witch at a friend's theme party (The Seven Year Witch).

Genie 
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Sat, 1 Nov 2003 09:14:29 -0800
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Subject: [h-cost] 16th century prayer books
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Hi Folks,

Have any of you out there researched the area of 16th century Englis prayer books?.....  The ones found almost as fashion accessories in portraits.  I'd like to obtain a few of the texts commonly used in these books from EEBO and make a few prayer books up and I'm not sure which texts were commonly used.  Psalms I would image, anything else?  Did the contents change after the split with Rome?  Any websites you can direct me to?

Thanks,

Lisa Sinervo
www.thrednedlestrete.com
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On Sat, 1 Nov 2003 08:33:45 -0800 Althea Turner <althea@alfalfapress.com>
writes:
> I went as Snow White.  I spent about 40 hours on the costume based on 
> a 
> Moretto painting.  :D  But in the red/blue/yellow color scheme.  
> It's 
> quite fetching, if I do say so myself.  :)
> Althea
> 


        Just went to a friend's last night.  Hubby and I were both
mage/sorcerers.  His fit in more wiith our group of barbarians while mine
was from the Thieve's World series of books.  I'll post pictures on my
site soon.  (Still need to get the picture of the Sailor Scouts from
Sailor Moon.)

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

________________________________________________________________
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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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Sat, 1 Nov 2003 09:54:40 -0800
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Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!
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Lisa, I don't know how I managed to miss this message in the continuing saga
of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that I
doubt that she would even make her investment back in CD's since there
aren't many of us out there willing to pay money for "dusty old history" but
it's a great thought.

I just found out that one of my local University Libraries just got an EEBO
subscription.  Can't access from home though.

Were you asked to sign a copyright agreement?  I wasn't.

Regina/Wanda

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Lisa Sinervo
> Sent: Thursday, October 09, 2003 9:04 PM
> To: Historical Costume
> Subject: Re: [h-cost] the difficulty
> inobtainingandsharingprimarycostumingsources
>
>
> 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
>
>
> _______________________________________________
> 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  Sat Nov  1 13:16:55 2003
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Date: Thu, 30 Oct 2003 18:31:24 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
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Subject: [h-cost] Re: Clocks (was Re: Hose/stockings)
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Just a periodic-reminder kind of thingy that people interested in 
historic knitting (including stockings) are welcome on the 
HistoricKnit mailing list. (It's not nearly as active as this one.) 
It's in YahooGroups at:
  http://groups.yahoo.com/group/HistoricKnit

You do have to be a member to read the files, which means registering 
with Yahoo (which doesn't work for some people, either computer-wise 
or because they don't want to give out personal information).
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
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From h-costume-bounces@indra.com  Sat Nov  1 13:26:40 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
References: <HGEEKKPFPKOJBDPGKLOCGEKEHIAA.wandap@hevanet.com>
Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
Date: Sat, 1 Nov 2003 10:30:44 -0800
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I had a proquest trial through a living history society I'm associated with.
I suspect the first person who logs on to the proquest trial has an
agreement they must adhere to which said books were not to be republished
and were for research only or something similar.  I think it said any
republishing required the permission of proquest and the owner of the book.
Since I'm not really interested in republishing myself, I didn't print the
licensing agreement out so I can't refer back to it.  No doubt, the
University Library had some agreement they had to agree to upon obtaining
the subscription, perhaps the individual user never sees this.

What I attempted to say when I first started this thread, was that I did
have access to the EEBO and downloaded quite a number of books that might be
of interest to those on this list and while the licensing agreement
prohibits me from republishing them, so they won't  be appearing on my
website, if any of you folks are researching something and are looking for a
reference, please do contact me as I now have around 1400 books from the
16th and 17th centuries and may be able to assist you.

Cheers,

Lisa Sinervo
www.thrednedlestrete.com




----- Original Message -----
From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 9:54 AM
Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!


> Lisa, I don't know how I managed to miss this message in the continuing
saga
> of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that I
> doubt that she would even make her investment back in CD's since there
> aren't many of us out there willing to pay money for "dusty old history"
but
> it's a great thought.
>
> I just found out that one of my local University Libraries just got an
EEBO
> subscription.  Can't access from home though.
>
> Were you asked to sign a copyright agreement?  I wasn't.
>
> Regina/Wanda
>



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In a message dated 11/1/2003 4:05:17 AM Eastern Standard Time, 
kimiko@kimiko1.com writes:
And to make it costume related, how does one deal with wearing black 
costumes, yet not appear to disappear into the night?


I'm not sure where they're available, but if you want the "quick" version (as 
much as reflective tape, reactive paint, and LEDs are really cool, 
occasionally one runs out of time), apparently they (they being stores like Party City, 
likely) sell blinking/flashing bicycle type lights that you can hook onto the 
costume.  They're meant to make store-bought costumes flash and whatnot, I 
suppose.
Actually, idea: Make a bicycle costume, and use those as part of it?  If 
you'd like to relate it to "historical", make a really old-fashioned bike, but add 
those so that your costume doesn't get barged into.

Christine
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] since it's Hallow'een
Date: Sat, 1 Nov 2003 10:48:29 -0800
To: Historical Costume <h-costume@indra.com>
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oooh, do share a photo with us of you and the original painting.

I was going to go as the Fashon Police, but I came down with a bad cold 
:(

.heather.

On Nov 1, 2003, at 8:33 AM, Althea Turner wrote:

> I went as Snow White.  I spent about 40 hours on the costume based on 
> a Moretto painting.  :D  But in the red/blue/yellow color scheme.  
> It's quite fetching, if I do say so myself.  :)
> Althea
>
> On Friday, October 31, 2003, at 01:26 PM, AnnBWass@aol.com wrote:
>
>> 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
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
> Althea Turner
> *** althea@alfalfapress.com
> *** http://www.alfalfapress.com
>
> _______________________________________________
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From: "Sablerose" <tayla@sablerose.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] hair
Date: Sat, 1 Nov 2003 11:18:34 -0800
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I have it on good authority from someone who has worn a properly
constructed 15th century hennin that plucking wasn't necessary.  The
hennin takes care of removing hair from that area for you!  She's still
growing her bangs back....

Tayla
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 6:09 PM
Subject: Re: [h-cost] hair


> Lee Thompson-Herbert wrote:
>
> > Then there's the elizabethan habit of plucking the _hairline_ as
well to
> > create a high brow (no plucking required for me).
>
>
> I went looking a couple months ago on that, and I am now wondering if
> this isn't one of those 'costume myths' that's being repeated in
books.
> Granted, I didn't do exhaustive research, just looked through a dozen
or
> two portraits in history and art books from the period, but it didn't
> seem like foreheads were being plucked to me. The line in the
supposedly
> plucked portraits wasn't noticeably higher than the non-plucked
portraits.
>
I can't say I've ever noticed it in Elizabethan portraits,
but they definitely plucked the forehead under 15th
century hennins. Those hairlines go back so far! I
often curse my low forehead looking at them and
think 'I am not plucking my forehead, I am not plucking
my forehead....'.

Claire

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wierd question (was  link: "Accurate Reproduction
	Clothing")
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On Saturday 01 November 2003 01:42 am, Lee Thompson-Herbert wrote:
> 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.

Or, of course, one can choose to be unfashionable for all periods simply by 
*not* plucking her brows.  :-)



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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In a message dated 10/31/03 7:15:31 PM Eastern Standard Time, 
Kitsune242@aol.com writes:
Has anyone seen this movie?
Yes, unfortunately.

Some nice costumes though.
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 16th century prayer books
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Don't know about prayer books, but I bought the exhibition catalog from
the Kimball museum's exhibit on "Books of Hours"- they each had a
collection of certain hymns for certain days, basic bible lessons,
entire calendars of what prayer to say on which hours of which days-
many illustrations seasonally linked to the calendar presented, that
sort of thing.
Any help? I can get you probably a link or two to the museum..
Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Lisa Sinervo
Sent: Saturday, November 01, 2003 11:14 AM
To: Historical Costume
Subject: [h-cost] 16th century prayer books

Hi Folks,

Have any of you out there researched the area of 16th century Englis
prayer books?.....  The ones found almost as fashion accessories in
portraits.  I'd like to obtain a few of the texts commonly used in these
books from EEBO and make a few prayer books up and I'm not sure which
texts were commonly used.  Psalms I would image, anything else?  Did the
contents change after the split with Rome?  Any websites you can direct
me to?

Thanks,

Lisa Sinervo
www.thrednedlestrete.com
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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Moire silk source
Date: Sat, 1 Nov 2003 12:59:48 -0800
To: Historical Costume <h-costume@indra.com>
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Warp printing and Ikat are the not same thing, though they are similar.
Ikat is tie dying the warp threads, warp printing is.. printing them.

Every example of "watered silk" I have seen in *modern* textiles  has 
been warp printed to create a watery effect. I realize that is not the 
same as the historical look or definition, and I apologize for the 
confusion.  But be aware if you see "watered silk" for sale from an 
upholsterer, that's probably what it is.

.heather.


On Oct 31, 2003, at 5:00 PM, Catherine Olanich Raymond wrote:

> 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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From: Fran Grimble <fran@lavoltapress.com>
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Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
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ProQuest's agreement is readily available on the home page of their 
website. Here is a link to it:

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

If you have any further questions, I'd suggest contacting ProQuest. I am 
sure they can explain how their agreement applies to you. And give you 
any permissionsthey wish to give that are legally necessary.  There is 
no need to remain in the dark about what another party's rights are, or 
what they would give you permision to do, when you can easily ask them.

Fran

Lisa Sinervo wrote:

>I had a proquest trial through a living history society I'm associated with.
>I suspect the first person who logs on to the proquest trial has an
>agreement they must adhere to which said books were not to be republished
>and were for research only or something similar.  
>

<snip>

>
>What I attempted to say when I first started this thread, was that I did
>have access to the EEBO and downloaded quite a number of books that might be
>of interest to those on this list and while the licensing agreement
>prohibits me from republishing them, so they won't  be appearing on my
>website, if any of you folks are researching something and are looking for a
>reference, please do contact me as I now have around 1400 books from the
>16th and 17th centuries and may be able to assist you.
>
>Cheers,
>
>Lisa Sinervo
>www.thrednedlestrete.com
>
>
>
>
>----- Original Message -----
>From: "Wanda Pease" <wandap@hevanet.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, November 01, 2003 9:54 AM
>Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!
>
>
>  
>
>>Lisa, I don't know how I managed to miss this message in the continuing
>>    
>>
>saga
>  
>
>>of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that I
>>doubt that she would even make her investment back in CD's since there
>>aren't many of us out there willing to pay money for "dusty old history"
>>    
>>
>but
>  
>
>>it's a great thought.
>>
>>I just found out that one of my local University Libraries just got an
>>    
>>
>EEBO
>  
>
>>subscription.  Can't access from home though.
>>
>>Were you asked to sign a copyright agreement?  I wasn't.
>>
>>Regina/Wanda
>>
>>    
>>
>
>
>
>_______________________________________________
>h-costume mailing list
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>
>
>  
>

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


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From: "Helen Pinto" <hpinto@mindspring.com>
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Subject: Re: [h-cost] 16th century prayer books
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Lisa wrote:
Have any of you out there researched the area of 16th century Englis prayer
books?.....  The ones found almost as fashion accessories in portraits.  I'd
like to obtain a few of the texts commonly used in these books from EEBO and
make a few prayer books up and I'm not sure which texts were commonly used.
Psalms I would image, anything else?  Did the contents change after the
split with Rome?  Any websites you can direct me to?


You mean those elaborately bejeweled and embroidered little books on chains
hanging from the waist on those Elizabethan ladies' portraits, right?
I can't get my hands on the book with the pictures right now, but I can get
my hands on Mirjam Foot's "Studies in the History of Bookbinding".  A London
bookseller's pricelist gives the following titles for "bookes in hard
boards": Foxe's Book of Martyrs, The Psalms (probably the Coverdale
translation), the Book of Common Prayer, and the Bible.  Other devotional
titles probably were available.  "Bookes in hard boards" were laced in but
not fully bound; they were prepped and ready to be covered by an embroiderer
or other artist.
The biggest change in the contents was the switch from Latin to English and
the newly-written religious books and commentaries after the split from
Rome.  In the sixteenth century, there was an explosion of printing fueled
by both the press and the Reformation.  Also, the churches which were part
of the Reformation were much more encouraging of literacy and direct access
to religious texts.
Here's a link to Coverdale's Psalms:
http://www.bible-researcher.com/prayerbook1.html   I'm pretty sure the
others should be on the web, too.
             -Helen/Aidan


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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Ms. Penelope Chalk, benefactress to the world!
Date: Sat, 1 Nov 2003 13:30:22 -0800
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Fran,

	I had no questions about the copyright agreement.  I am fully aware of its
existence, and have no plans to violate it, even as Ms. Penelope Chalk.  I
just didn't notice it as I signed in.
	EEBO has done an incredible job in putting these things out where people
can get at them at all.  Unlike some repositories who feel that the only
good book is a closed one in deep storage.  As I noted, I have found a local
university that has access.  I will download what I need for personal use,
skip any attempt to grow rich and influential from selling someone else's
attempt to distribute human knowledge from the hands of time.
	Books are too fragile to depend on one or two copies acting as
repositories.  A look at the photos of the Library of Sarajevo should be
enough to show us all this.  Places like EEBO, the Libraries of Spain, and
France are to be thanked for their guardianship.  I wish the costs could be
brought down to a level manageable by the individual and I have said so to
Ibo's management.

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Fran Grimble
> Sent: Saturday, November 01, 2003 1:13 PM
> To: Historical Costume
> Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
>
>
> ProQuest's agreement is readily available on the home page of their
> website. Here is a link to it:
>
> http://wwwlib.umi.com/eebo/terms
>
> If you have any further questions, I'd suggest contacting ProQuest. I am
> sure they can explain how their agreement applies to you. And give you
> any permissionsthey wish to give that are legally necessary.  There is
> no need to remain in the dark about what another party's rights are, or
> what they would give you permision to do, when you can easily ask them.
>
> Fran
>
>


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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] Ms. Penelope Chalk, benefactress to the world!
Date: Sat, 1 Nov 2003 13:38:35 -0800
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I am only interested in fair use for research sharing but thanks for your
suggestion.

Lisa Sinervo
www.thrednedlestrete.com

----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 1:12 PM
Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!


> ProQuest's agreement is readily available on the home page of their
> website. Here is a link to it:
>
> http://wwwlib.umi.com/eebo/terms
>
> If you have any further questions, I'd suggest contacting ProQuest. I am
> sure they can explain how their agreement applies to you. And give you
> any permissionsthey wish to give that are legally necessary.  There is
> no need to remain in the dark about what another party's rights are, or
> what they would give you permision to do, when you can easily ask them.
>
> Fran
>
> Lisa Sinervo wrote:
>
> >I had a proquest trial through a living history society I'm associated
with.
> >I suspect the first person who logs on to the proquest trial has an
> >agreement they must adhere to which said books were not to be republished
> >and were for research only or something similar.
> >
>
> <snip>
>
> >
> >What I attempted to say when I first started this thread, was that I did
> >have access to the EEBO and downloaded quite a number of books that might
be
> >of interest to those on this list and while the licensing agreement
> >prohibits me from republishing them, so they won't  be appearing on my
> >website, if any of you folks are researching something and are looking
for a
> >reference, please do contact me as I now have around 1400 books from the
> >16th and 17th centuries and may be able to assist you.
> >
> >Cheers,
> >
> >Lisa Sinervo
> >www.thrednedlestrete.com
> >
> >
> >
> >
> >----- Original Message -----
> >From: "Wanda Pease" <wandap@hevanet.com>
> >To: "Historical Costume" <h-costume@indra.com>
> >Sent: Saturday, November 01, 2003 9:54 AM
> >Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!
> >
> >
> >
> >
> >>Lisa, I don't know how I managed to miss this message in the continuing
> >>
> >>
> >saga
> >
> >
> >>of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that I
> >>doubt that she would even make her investment back in CD's since there
> >>aren't many of us out there willing to pay money for "dusty old history"
> >>
> >>
> >but
> >
> >
> >>it's a great thought.
> >>
> >>I just found out that one of my local University Libraries just got an
> >>
> >>
> >EEBO
> >
> >
> >>subscription.  Can't access from home though.
> >>
> >>Were you asked to sign a copyright agreement?  I wasn't.
> >>
> >>Regina/Wanda
> >>
> >>
> >>
> >
> >
> >
> >_______________________________________________
> >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
>
>
> _______________________________________________
> 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  Sat Nov  1 16:46:42 2003
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Date: Sat, 01 Nov 2003 13:48:40 -0800
From: Fran Grimble <fran@lavoltapress.com>
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Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
References: 
	<HGEEKKPFPKOJBDPGKLOCGEKEHIAA.wandap@hevanet.com><001001c3a0a6$43dedc40$f239a5d1@pavilion>
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Status: RO

I am not sure what you are interested in doing.  I was only noting that 
the agreement does bind individual users as well as authorized 
representatives of the library or other institution. (I can't imagine 
the lawyers writing this leaving a big loophole re individual users.)   
It also prohibits forming "collections" of EEBO  materials and 
"distributing" their materials as well as "publishing" them.  Anyway, 
I'm sure you're reading it all. 

You still might want to contact them to see what they regard as "fair 
use," among other things because this agreement seems to be at least 
partly according to British law and that differs from American law.

Fran

Lisa Sinervo wrote:

>I am only interested in fair use for research sharing but thanks for your
>suggestion.
>
>Lisa Sinervo
>www.thrednedlestrete.com
>
>----- Original Message -----
>From: "Fran Grimble" <fran@lavoltapress.com>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, November 01, 2003 1:12 PM
>Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
>
>
>  
>
>>ProQuest's agreement is readily available on the home page of their
>>website. Here is a link to it:
>>
>>http://wwwlib.umi.com/eebo/terms
>>
>>If you have any further questions, I'd suggest contacting ProQuest. I am
>>sure they can explain how their agreement applies to you. And give you
>>any permissionsthey wish to give that are legally necessary.  There is
>>no need to remain in the dark about what another party's rights are, or
>>what they would give you permision to do, when you can easily ask them.
>>
>>Fran
>>
>>Lisa Sinervo wrote:
>>
>>    
>>
>>>I had a proquest trial through a living history society I'm associated
>>>      
>>>
>with.
>  
>
>>>I suspect the first person who logs on to the proquest trial has an
>>>agreement they must adhere to which said books were not to be republished
>>>and were for research only or something similar.
>>>
>>>      
>>>
>><snip>
>>
>>    
>>
>>>What I attempted to say when I first started this thread, was that I did
>>>have access to the EEBO and downloaded quite a number of books that might
>>>      
>>>
>be
>  
>
>>>of interest to those on this list and while the licensing agreement
>>>prohibits me from republishing them, so they won't  be appearing on my
>>>website, if any of you folks are researching something and are looking
>>>      
>>>
>for a
>  
>
>>>reference, please do contact me as I now have around 1400 books from the
>>>16th and 17th centuries and may be able to assist you.
>>>
>>>Cheers,
>>>
>>>Lisa Sinervo
>>>www.thrednedlestrete.com
>>>
>>>
>>>
>>>
>>>----- Original Message -----
>>>From: "Wanda Pease" <wandap@hevanet.com>
>>>To: "Historical Costume" <h-costume@indra.com>
>>>Sent: Saturday, November 01, 2003 9:54 AM
>>>Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!
>>>
>>>
>>>
>>>
>>>      
>>>
>>>>Lisa, I don't know how I managed to miss this message in the continuing
>>>>
>>>>
>>>>        
>>>>
>>>saga
>>>
>>>
>>>      
>>>
>>>>of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that I
>>>>doubt that she would even make her investment back in CD's since there
>>>>aren't many of us out there willing to pay money for "dusty old history"
>>>>
>>>>
>>>>        
>>>>
>>>but
>>>
>>>
>>>      
>>>
>>>>it's a great thought.
>>>>
>>>>I just found out that one of my local University Libraries just got an
>>>>
>>>>
>>>>        
>>>>
>>>EEBO
>>>
>>>
>>>      
>>>
>>>>subscription.  Can't access from home though.
>>>>
>>>>Were you asked to sign a copyright agreement?  I wasn't.
>>>>
>>>>Regina/Wanda
>>>>
>>>>
>>>>
>>>>        
>>>>
>>>
>>>_______________________________________________
>>>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
>>
>>
>>_______________________________________________
>>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
>
>
>  
>

-- 
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  Sat Nov  1 17:11:19 2003
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From: Fran Grimble <fran@lavoltapress.com>
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Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
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I'm sure, but are you really Penelope Chalk, Lisa Sinervo, or ?? I'm 
getting confused about who is who here.

Fran

Wanda Pease wrote:

>Fran,
>
>	I had no questions about the copyright agreement.  I am fully aware of its
>existence, and have no plans to violate it, even as Ms. Penelope Chalk.  I
>just didn't notice it as I signed in.
>	
>

------------------------------------------
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  Sat Nov  1 17:24:17 2003
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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	<3FA42FFC.4020709@lavoltapress.com>
Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
Date: Sat, 1 Nov 2003 14:28:26 -0800
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Miss Penelope Chalk is completely fictious - she arose out of concern for
the hard working folks at the EEBO

Lisa Sinervo - is doing massive reseach on the 16th century has collected
quite a few EEBO books to cover the areas she is interested in and is
willing to share info within the provisions of fair use for research only as
she knows how frustrating finding period sources can be.

Wanda Pease has also just discovered the riches of the EEBO.

That's about it, and as far as I know the three entities above are quite
happy with our level of knowledge about terms, conditions, and fair use and
copyright, but thanks again for your concern.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 2:13 PM
Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!


> I'm sure, but are you really Penelope Chalk, Lisa Sinervo, or ?? I'm
> getting confused about who is who here.
>
> Fran
>
> Wanda Pease wrote:
>
> >Fran,
> >
> > I had no questions about the copyright agreement.  I am fully aware of
its
> >existence, and have no plans to violate it, even as Ms. Penelope Chalk.
I
> >just didn't notice it as I signed in.
> >
> >
>
> ------------------------------------------
> 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 h-costume-bounces@indra.com  Sat Nov  1 18:09:36 2003
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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] 16th century prayer books
Date: Sat, 1 Nov 2003 15:13:40 -0800
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Thanks Helen and Betsy, yes those bejeweled and embroidered books, and book
of hours are what I was referring to.  I was wondering which books the
ladies of the period might have "worn" if there was any research done into
the popularity of various titles and which titles they might be.

Lisa


----- Original Message -----
From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 1:28 PM
Subject: Re: [h-cost] 16th century prayer books


> Lisa wrote:
> Have any of you out there researched the area of 16th century Englis
prayer
> books?.....  The ones found almost as fashion accessories in portraits.
I'd
> like to obtain a few of the texts commonly used in these books from EEBO
and
> make a few prayer books up and I'm not sure which texts were commonly
used.
> Psalms I would image, anything else?  Did the contents change after the
> split with Rome?  Any websites you can direct me to?
>
>
> You mean those elaborately bejeweled and embroidered little books on
chains
> hanging from the waist on those Elizabethan ladies' portraits, right?
> I can't get my hands on the book with the pictures right now, but I can
get
> my hands on Mirjam Foot's "Studies in the History of Bookbinding".  A
London
> bookseller's pricelist gives the following titles for "bookes in hard
> boards": Foxe's Book of Martyrs, The Psalms (probably the Coverdale
> translation), the Book of Common Prayer, and the Bible.  Other devotional
> titles probably were available.  "Bookes in hard boards" were laced in but
> not fully bound; they were prepped and ready to be covered by an
embroiderer
> or other artist.
> The biggest change in the contents was the switch from Latin to English
and
> the newly-written religious books and commentaries after the split from
> Rome.  In the sixteenth century, there was an explosion of printing fueled
> by both the press and the Reformation.  Also, the churches which were part
> of the Reformation were much more encouraging of literacy and direct
access
> to religious texts.
> Here's a link to Coverdale's Psalms:
> http://www.bible-researcher.com/prayerbook1.html   I'm pretty sure the
> others should be on the web, too.
>              -Helen/Aidan
>
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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One very interesting book I obtained was "Cosmeticks or The Beautifying Part of Physick by which all deformities of Nature in Men and Women are corrected, Age renewed, Youth prolonged, and the least impediment from a hair to a tooth, fairly amended.  With the most absolute physical rarities for all ages, being familiar Remedies, for which every one may be his own apothecary."  This book was printed in 1660 and does a fairly good job of living up to its title.

Eyebrows have their own chapter:

Of Ointments to take away the faults of the eye-brows

For the falling of the hair off the eye-brows - Take of the filings of lead, of Drakes far, each sufficient quantity, mix them and make an unguent.

Another - Take of filberds rosted and powder'd, the fat of a Goat or Bear, each a sufficient quantity, mix them to an ointment.

An ointment to make the hair of the eye-brows grow again - Take of Henbane seed burnt, a sufficient quantity, with water make an ungent.

Another - take of bees burnt and pouder'd, a sufficient quantity, and wich oyl make a liniment for the eye-brows.

For the shedding of the eye-brows and beard - take of henbane two drams, mouserurd one dram, maidenhair tow drams, oly of flower-de-luce a sufficience quantity, pouder and mix them with theoyl, forment the pare and then anoint it.

For lice in the eyebrows - Take the yelk of an Egg boyled hard, a little aloes, mix them and annoint ( there are a couple more under this heading)

I wonder if the "falling of the hair" is to remove the hair, and "the shedding of eye-brows" might be to stop them from shedding.  Seams lead would remove hair, but did they really want to keep beards from shedding?  

Other subjects include:

Breasts - to make them small, to hinder their growth, to make them smoothe, for those that hang down - guess no one wanted implants in 1670!

Baldness, diets, face whitening, teeth whitening, fair hands, fattening the body, removing body and facial hair, making hair thick, bleaching hair, dyeing hair, ointments for the hardness of the feet, curling the hair, pimples, and making perfume in the shape of little birds.

Lisa Sinervo
www.thrednedlestrete.com











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> 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?

First off, do your research first, write up your documentation (which 
is the synthesis of your research) and *then* make your dress. Doing 
it the other way around always shows.

Documentation depends on the venue. In some competitions, they want 
the historical basis for each and every aspect of the costume. In 
some they more want a list of how you did what you did and where you 
got the fabrics you used (and I don't mean where you got the ideas 
for using a specific fabrics.)

I'm going to assume that you are entering a historical costume 
contest as opposed to one which is more theatrically based (such as 
the historically influenced fantasy costumes. Whole different kettle 
of fish!)

Document is what sources you derived your ideas from. Those ideas 
should match as closely as possible what you have done. It is *what* 
you have done. Make it short and sweet, but with all the appropriate 
details. Use the appendix for your discussions about rationale (why 
you have done something), supporting evidence and the like.

Basically "In this period the sleeve could be done as X, which I have 
done (Footnote 1 of pictures in appendix)" or "In this period this 
sleeve would have been done (footnote 1 of pictures in appendix) but 
I chose to make mine this way (footnote 2 of discussion of rationale 
for departure from period design for sleeve in appendix.)

Keep in mind that when done well, this still leaves a lot of room for 
"creative" decisions as opposed to doing exact replicas. In your 
chosen time period, there are basic silouettes and cutting methods, 
but there are also plenty of variations. If you are "interpolating" 
styles, make sure that all the information you used to make a 
reasonable interpolation are in the appendix.

Be specific when appropriate. If you are doing a dress from 1580-85 
France, say that rather than the more ambiguous "Late 16th Century 
European". If your work cannot specifically pinpoint a date, then you 
may not have the appropriate information or you may be trying to 
combine style variations from too many time periods. 

If you use as a model 3 examples from 1580-85 English as your model, 
but you can't get information on the cut except from Alcega (1589 in 
Spain), that's fine (since we don't have many sources with such 
specific information) explain that in the appendix. (Ie. "My pictoral 
sources for this dress are 1585 English [Show the 3 dresses or 
footnote pointing to them in the appendix]. The cut is 1589 [footnote 
pointing to discussion and picture of cutting diagram in appendix].")

Make sure that the documentation is *readable*. Don't use fancy 
scripts that may be appropriate for the time period but are difficult 
to read. This is the "nonperiod" part of your outfit. (If you have to 
do the whole thing in a "period appropriate manner", that's a 
different type of competition.) 

Do it so that a judge with limited amount of time can read it. I 
recommend using something like a 14 point Arial (or, for those with 
nonMicrosoft word, Helvetica). 

And make your points almost bullet style when possible so that the 
judges can easily *find* the information by glancing quickly. If it's 
embedded in a paragraph, they'll never find it. But use footnotes for 
more information.

You might also want to have quick flip tabs to help them find 
specific details in the appendix. Most of all, you want it to be 
readable and if they need to have more information, that needs to be 
findable.

When you use sources, you don't need to list every book you've ever 
read on the subject. Use the ones which gave you good information and 
which are considered to be good sources. A book can have lots of 
"information" in it, but if it's full of conjecture or redrawings, 
then you may just look like you can't figure out what a good source 
is. Quoting a tertiary source, no matter how well thought of they 
are, is not documentation. It is rehashing. Your work should be 
supported by good sources as close to primary as is possible for that 
aspect. (It isn't always possible to have "ideal" sources. For 
example, you'll have a hard time bringing in any sort of Elizabethan 
gown which is primary. You'd have problems bringing in a photograph 
of an Elizabethan period English gown. You'll need to depend on 
photographs of Elizabethan period English portraits of gowns, with 
supporting evidence, for example, from a Spanish/German extant gown 
from the same period.)

If you are using a pictoral source, don't depend on just one picture 
to tell the whole story. This is especially true if you are using a 
picture which might at least in part be iconographical. Find other 
pictoral sources as well as quotes from the time period to support 
your ideas about that outfit. They can all go in the appendix.

So, with all this stuff going into the appendix, what's left? Plenty.

Discuss every aspect of your costume: sleeve type, bodice shape, 
skirt shape, etc (things about the silouette such as fullness, 
neckline cut, and the like) . 

Talk about the cut (lines of seams and shape of pattern pieces).

Point out trim placement (which may be part of the cut or under 
embellishment/decoration depending on why it is where it is). 

Mention the techniques used (but make sure to put any diagrams or 
discussion about it in the appendix. This would be such things as 
"completely hand sewn using running stitch with a catch stitch for 
part X, herringbone stitch for part Y, overcast stich for part Z, 
cartridge pleating for part A of the sleeve and for part B, etc." vs 
"machine sewn seams but cartridge pleating on the skirt and handsewn 
hem ). 

Don't forget about fastening methods.

Make sure to state what you yourself did (such as pattern drafting vs 
having a friend do it vs using a Simplicity pattern.) 

Discuss the fabrics you used in terms of content and weave and 
surface design ("In the sixteen century this would have been made of 
a brocade of silk in a design of X, footnote 2 in appendix, so I 
chose this fabric with this design"). 

Colors should also be discussed. It's good to show which dyes would 
have been making the color which you are wearing, where you found 
mention of it in an inventory and show a pictoral source of someone 
wearing that color.

So should any ornamentation/decoration/embellishment. 

Document the layers as well. If you have corset, petticoat, 
farthingale, chemise, etc. they are all part of the garment and need 
to have their own discussions and appendix directed footnotes. (If 
the competition doesn't require you to strip, you might want to have 
photographs of you getting into each layer of the garment in your 
appendix.)

Same thing with accessories.

And that will probably take you all 4 pages to do it in a readable, 
scan-able way. 

Never assume that the judges know anything. Even if you think "but 
everyone knows that", it still should be documented. Think of it as 
something that is an educating too. (This also makes it more fun for 
the judges.)

Never assume that the judges know nothing. Don't even bother to 
bullshit or use scurulous sources. 

Use humor when appropriate. Judging a contest is not easy. It is 
tiring in a physical and emotional sense. Appropriately place levity 
can help the judges get through it more easily. (Avoid "groaners" as 
these can make the judges less happy with reading your stuff. There's 
a fine line between appropriate and annoying.)

Whatever you do, don't use a persona story as any part of your 
documentation. It doesn't matter if the person wearing it had a 
father/lover/husband/favorite uncle/whatever who was a merchant and 
could get things from anywhere in the world. They still probably 
wouldn't have used it in public unless you can document that someone 
from that time/place did use it. 

I've probably forgotten some detail, as I'm doing this off the top of 
my head. If so, hopefully some kind person will add in what I may 
have left out.

Kat
<kat@redtrollforge.com>


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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?

Or some sort of draped fabric. 

You might want to look at portraits of the time to see what would 
have been seen around the shoes. Sometimes it might be a plain wooden 
plank floor which you can find at a local Boy Scout camp.

> 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.

This is a *very* good point. Make the shoes the focus and you don't 
have to worry nearly as much about what they are wearing on their 
bodies and heads. (That way the modern haircuts and glasses 
definitely won't be a problem.)

Kat
<kat@redtrollforge.com>


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> Who is the Chivalry Bookshelf?  Are they a division of the Chivalry
> Sports catalog?

Emphatically NO!

Most of Chivalry Bookshelf's books are archeology based books 
(generally on martial arts topics such as the finds from the battle 
of Wisby or techniques of medieval armor production.)

Definitely not related to Chivalry Sports catalog.

Kat
<kat@redtrollforge.com>


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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'.

That's one cut, but they also used a pyramidal shape for the cut. 
These were part of the novelty you mentioned since they could also be 
used to cut glass or draw on glass.

> 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.

Exactly. When you think of it, diamond are rather bland except for 
the sparkle. The colored stones are much prettier. ;)

For more information you might want to look at Ronald Lightbown's 
_Mediaeval European Jewellery_ which has nice discussions of stones 
in the middle ages (and renaissance up to a point.) Diana 
Scarisbrick's book on the history of British jewelry I believe also 
has information on that and her book goes much later than Lightbown's 
book.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: hose gusset (was Re: [h-cost] Re: Hose/stockings
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Hi. I got that part. See below where I mention that my wife states the 
very same thing. I am wondering, however, as I stated (the egg and 
chicken idea), which one influenced the other first. This would require 
a study of knitted hose before the introduction of clocking, to see how 
those pre-clocked knitted ones were constructed. This would provide the 
conjecture with some needed docs, although it wouldn't necessarily mean 
anything, as pre late 16th Cent. cut hose still used the ankle gusset 
method of construction. I have two pair of cuthose in linen, and I can't 
really see the difference in the feel of the wear. Frankly, the ankle 
gusset ones were harder to construct, and have more stress points on 
them than the others, and use up greater portions of non-symmetrical 
fabric bits.  Mike T.

> 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.
>
>>  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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To: Historical Costume <h-costume@indra.com>
Subject: Re: stretchy (was Re: [h-cost] Re: Hose/stockings
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Hi, Carol. I'm guessing that the material is dense and tight because of 
heavy fulling/felting of the wool. Have you been able to actually 
handle/stretch these examples? They might also be somewhat stiff from 
age. I have a pair knitted by my wife in Border/Leicester wool, pattered 
from the Gunnister find. They appear dense and have been fulled/felted, 
but they still have quite a bit of stretch, even after being laundered. 
Cheers, Mike T.


>
>
>      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.
>

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 16th century prayer books
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Status: RO

Lisa,

There's a Compleat Anachronist that came out recently on the topic of
books of hours, written from the perspective of someone interested in
creating one of their own. It also has a great bibliography with pointers
for people wanting to learn more. It was written in 9/99. If you don't
know someone that has it, it can be ordered online for $4.50 at
https://secure.sca.org/cgi-bin/stockclerk/ca.html .

Drea

On Sat, 1 Nov 2003, Lisa Sinervo wrote:

> Hi Folks,
>
> Have any of you out there researched the area of 16th century Englis prayer books?.....  The ones found almost as fashion accessories in portraits.  I'd like to obtain a few of the texts commonly used in these books from EEBO and make a few prayer books up and I'm not sure which texts were commonly used.  Psalms I would image, anything else?  Did the contents change after the split with Rome?  Any websites you can direct me to?
>
> Thanks,
>
> Lisa Sinervo
> www.thrednedlestrete.com
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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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Status: RO

Hmm, apparently I’m being less than clear somewhere.   I’m not really all 
that concerned with the people I –know- who are going to be overly critical 
– I know who they are and where they are like to go with whatever I do.   I 
also am aware that there are just going to be those who will pick apart 
whatever.   Really, what I am trying to do here is see what’s likely to be 
most effective for the majority of readers who might want to pick it up.  So 
I’m not sure there’s that much “getting past” the critics that should to be 
done.  I don't want to sound hard with that, and I appreciate the comments, 
Fran.  I'm just not sure that I've been clear on that.

And yes, Robin, shoemaking techniques.  Ideally the shoemakers in the 
picture shouldn’t actually be pulling the attention away from whatever 
detail the picture’s of.   Of course, since the basic working class outfit 
doesn’t change much for the 5 centuries I’m looking at… :)

My editor and I are in communication, but at this point I’m planning, 
organizing information and writing.  My deadline isn’t until next September, 
so I’m not looking to need much external validation before that :)   People 
who are in a hurry can always try my webpage “Footwear of the Middle Ages”.

The major difficulty with photography on this project is that it’s going to 
take a major amount of time for each individual pair of shoes (making a pair 
of shoes, if everything goes right, takes me about 16-24 hours) which will 
require a photographer (and model if I use other people as models) be there 
for the entire procedure – each time.   Clear storyboarding will help 
organizing what pictures should be taken when but no matter how I do it, 
it’s going to be time consuming.  I don’t have sufficient materials to break 
it down TOO much (with multiple stages already done out).

As for that background, what I really need is a plaster and woodframe wall 
inside with a tile floor – but my wife won’t let me redo the apartment :)

Hmm, Eyebrows?  Definitely not something that I would have considered…  I 
know what you mean though – I’m frequently put off by posture (For instance, 
“Down with Love” was the first movie that incorrect posture blew the film 
for me).

Marc

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> So I’m not sure there’s that much “getting past” the critics that 
> should to be done. I don't want to sound hard with that, and I 
> appreciate the comments, Fran.

No offense taken.

>
> My editor and I are in communication, but at this point I’m planning, 
> organizing information and writing. 


Every book-publishing house has a different system. I've worked for some 
where they paid no attention to the MS till it came in. Then there's the 
last one I worked for, where the editors were involved from the very 
beginning, from working on the outline till the end. In daily phone 
communication for months.

On the one hand it was fun. And I was good at it. An author could count 
on my being totally devoted to their project; well, to theirs and the 
other three to five projects I was working on at the same time. On the 
other hand it got draining. Authors vary a lot in how much emotional 
support they need. Most were businesslike and efficient. But some I had 
to constantly counsel, in essence, to keep them writing. Every time they 
had a crisis they'd call me up at home at 6 AM on a Sunday. Then there 
were the ones (usually the same ones) where I was essentially a coauthor 
for their books without credit. When I started to resent it I got out of 
that part of the business.

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: Sun, 2 Nov 2003 01:37:36 -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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Hi Mike,

      Most of the extant stockings I've seen are silk, followed by 
linen.  Neither of those fabrics fulls the way wool does, and in both 
cases the knit is dense & not stretchy.  There are not as many extant 
wool stockings out there.  I own a few extant silk & linen stockings, 
so I have opportunity to check the stretch whereas I would not tug on 
a pair belonging to a museum.  But I don't have to try to stretch the 
knit in order to tell that it's dense and not very flexible.

      We could get together and I could show you my extant stockings & 
look at your repros if you like.  "Quite a bit of stretch" sounds 
like more than what I've seen in the originals.

>Hi, Carol. I'm guessing that the material is dense and tight because 
>of heavy fulling/felting of the wool. Have you been able to actually 
>handle/stretch these examples? They might also be somewhat stiff 
>from age. I have a pair knitted by my wife in Border/Leicester wool, 
>pattered from the Gunnister find. They appear dense and have been 
>fulled/felted, but they still have quite a bit of stretch, even 
>after being laundered. Cheers, Mike T.

      I just looked at my slides of the stockings from the Museum of 
London.  One is a fragment (foot) with the blocky-shaped gusset 
construction that I see in some 17th and very early 18thC stockings. 
The other is the early sock, I think 16th century.  There are holes 
in crucial areas so it's hard to see exactly what's happening, but it 
appears to have some increase in width around the ankle.  It is not a 
gusset.  The heels are purl stitches, but not much in the way of heel 
shaping.  It almost looks like a tube sock!     -Carol

At 9:27 PM -0500 11/1/03, michael tartaglio wrote:
>Hi. I got that part. See below where I mention that my wife states 
>the very same thing. I am wondering, however, as I stated (the egg 
>and chicken idea), which one influenced the other first. This would 
>require a study of knitted hose before the introduction of clocking, 
>to see how those pre-clocked knitted ones were constructed. This 
>would provide the conjecture with some needed docs, although it 
>wouldn't necessarily mean anything, as pre late 16th Cent. cut hose 
>still used the ankle gusset method of construction. I have two pair 
>of cuthose in linen, and I can't really see the difference in the 
>feel of the wear. Frankly, the ankle gusset ones were harder to 
>construct, and have more stress points on them than the others, and 
>use up greater portions of non-symmetrical fabric bits.  Mike T.
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Subject: Re: [h-cost] On the Subject of "Documentation" (long)
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At 05:54 PM 11/1/2003 -0800, you wrote:
>I've probably forgotten some detail, as I'm doing this off the top of
>my head.


That was from the top of your head? Wow. That was a lot of info.

Thanks for sharing that Kat. While I may never go into competition myself, 
at least now I know what all you look for in that kind of venture. In a 
way, I may just do that with this next dress I am working on, to document 
to myself how historical it really is, or not.

Wow.

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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At 10:03 PM 11/1/2003 -0600, you wrote:
>As for that background, what I really need is a plaster and woodframe wall 
>inside with a tile floor ­ but my wife won’t let me redo the apartment :)


Hi Marc

Can you make a set in a spare room somewhere, even at a friend's? Make a 
backdrop that looks like plaster and woodframe, with a small stage of the 
tile floor, and then set the lights and whatever offstage? Sort of a 
mini-theatre? You can even make it in parts, so you could store it 
someplace until needed?

And have you thought of making several shoes in different stages of 
completion, so that photo shoots can go from one stage to another without 
so much time with actual construction? You may be able to sell the 
different shoes after you are done, especially if you make them in a close 
range of sizes?

Just a few ideas.

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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At 06:15 PM 11/1/2003 -0800, you wrote:
>Diana
>Scarisbrick's book on the history of British jewelry I believe also
>has information on that and her book goes much later than Lightbown's
>book.


Kat, would that be _Ancestral Jewels_ , by Diana Scarisbrick ? Or is it a 
different book?

Thanks

Kimiko



Kimiko Small
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"When there is fear, there is no creativity" ~ C. Lowell

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----- Original Message ----- 
From: "Sablerose" <tayla@sablerose.net>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Sunday, November 02, 2003 6:18 AM
Subject: RE: [h-cost] hair


> 
> I have it on good authority from someone who has worn a properly
> constructed 15th century hennin that plucking wasn't necessary.  The
> hennin takes care of removing hair from that area for you!  She's still
> growing her bangs back....
> 
> Tayla
Still not particularly useful for someone who has to
go back to a 21st century office the day after the event
*grin*
Plus, as I said, I have a really low forehead (and a
widow's peak to boot). I'd have about 2 inches of
hair showing if I wore a hennin on the line they're 
most often depicted. That's a lot to lose. Especially
since I don't really have bangs. I have hippy hair - even
fairly close to my hairline it's at least waist length.
Claire 
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: hose gusset (was Re: [h-cost] Re: Hose/stockings
Date: Sun, 2 Nov 2003 09:37:19 -0500
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Mike wrote:
<<I am wondering, however, as I stated (the egg and 
chicken idea), which one influenced the other first. This would require 
a study of knitted hose before the introduction of clocking, to see how 
those pre-clocked knitted ones were constructed. This would provide the 
conjecture with some needed docs, although it wouldn't necessarily mean 
anything, as pre late 16th Cent. cut hose still used the ankle gusset 
method of construction. I have two pair of cuthose in linen, and I can't

really see the difference in the feel of the wear. Frankly, the ankle 
gusset ones were harder to construct, and have more stress points on 
them than the others, and use up greater portions of non-symmetrical 
fabric bits.>>

Hi Mike!

As someone who has constructed both bias-cut hose and knit stockings in
wool, I have a theory to put forth on the matter.

When I make bias-cut hose in the 16th century manner (gusset at the
ankle), I put the hose on the person and slit the sides until the vamp
falls smoothly over the ankle.  The gusset goes where it needs to be to
make the hose fit.  It's a slightly different place for every person,
and the size of the gusset also differs wildly.  But its purpose is
clear -- to facilitate the turn in the fabric that accommodates the
foot.

When I knit my first pair of wool stockings, I was trying to replicate
an extant pair that ended above the ankles, so I didn't know quite what
to do with the foot.  Since I had no experience knitting socks, I didn't
know how to turn a heel.  But someone I muddled through it, only to find
out later that my attempts greatly resembled the Gunnister stockings.
The purpose again is to make the turn to accommodate the foot.

I have long held this belief (that I call "The Barbie Theory of Textile
Development) that an absolute beginner is more likely to stubble upon an
ancient technique by accident simply because she has nothing to cloud
her judgment.  She just makes it work and it works.  And sometimes it's
shockingly similar to what was done in the period under study, assuming
the period is sufficiently primitive as the earliest knit wool stockings
would have been.

It's not good scholarship, but it's surprising how many times it works
in practice.

So my theory is that "the chicken and the egg", as you call them, didn't
come one from the other, but rather developed separately to solve the
same problem.  I don't believe that the first stocking knitters said,
"We have to make a triangular gusset in the ankle so it looks like cut
hose."  They had to make a turn there to make the stockings fit.  The
result simply looks like a gusset, but it's only because the purpose is
the same, not that one was trying to look like the other.  Convergent
evolution may not exist in biological circles, but maybe it does in
textile ones.  =)

Kass

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sun, 02 Nov 2003 07:52:06 -0800
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Subject: Re: [h-cost] Sew on Tudor Jewels-painted black diamnonds
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> Kat, would that be _Ancestral Jewels_ , by Diana Scarisbrick ? Or is
> it a different book?

Different book. I went and found the book: 
_Jewellery in Britain 1066-1837_

However, she doesn't talk about diamond cutting. She more discusses 
where they would have mined them and what the trade was like (and in 
terms of diamonds she doesn't have much information until the 18th 
C.)

Ms. Scarisbrick has actually written quite a few books on jewelry. In 
addition to the two mentioned above already she also has one strictly 
on necklaces and another on rings. She may have even more, but they 
are not (yet) on my shelves (or, like Ancestral Jewels, shelved in a 
different spot than the rest of her books.)

Kat
<kat@redtrollforge.com>


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Date: Sun, 2 Nov 2003 07:58:05 -0800
Subject: Re: [h-cost] On the Subject of "Documentation" (long)
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Kat writes:

> First off, do your research first, write up your documentation 
> (which is the synthesis of your research) and *then* make your dress.
Doing 
> it the other way around always shows.

My mmemonic for this is DAP:

1) DO the research
2) APPLY the research
3) PRESENT the whole package

> Documentation depends on the venue. In some competitions, they want 
> the historical basis for each and every aspect of the costume. In 
> some they more want a list of how you did what you did and where you 
> got the fabrics you used (and I don't mean where you got the ideas 
> for using a specific fabrics.)
> 
> I'm going to assume that you are entering a historical costume 
> contest as opposed to one which is more theatrically based (such as 
> the historically influenced fantasy costumes. Whole different kettle 
> of fish!)
> 
> Document is what sources you derived your ideas from. Those ideas 
> should match as closely as possible what you have done. It is *what* 
> you have done. Make it short and sweet, but with all the appropriate 
> details. Use the appendix for your discussions about rationale (why 
> you have done something), supporting evidence and the like.
> 
> Basically "In this period the sleeve could be done as X, which I 
> have done (Footnote 1 of pictures in appendix)" or "In this period this

> sleeve would have been done (footnote 1 of pictures in appendix) but 
> I chose to make mine this way (footnote 2 of discussion of rationale 
> for departure from period design for sleeve in appendix.)

Sometimes you will run into conflicting opinions in your research.
Sometimes you will run into outdated viewpoints in your research. How
many people used Norris until they found Queen Elizabeth's Wardrobe
Unlocked? It's ok to amend your research. If this involves having to
remake something and having the time to do so, go for it. If you don't,
let the mistake stand but present your improved research as well as the
mistake. Judges understand and respect this. Give the rationale for it.

> Make sure that the documentation is *readable*. Don't use fancy 
> scripts that may be appropriate for the time period but are 
> difficult to read. This is the "nonperiod" part of your outfit. (If you
have 
> to do the whole thing in a "period appropriate manner", that's a 
> different type of competition.) 

Another way of doing it is to use fancy fonts in titles and headers, but
always present your text body in a clean, easy to read font. Unlike Kat,
I prefer nothing larger than a 12 point, as I find larger fonts hard to
read. Times New Roman is a nice font too.
 
> Do it so that a judge with limited amount of time can read it. I 
> recommend using something like a 14 point Arial (or, for those with 
> nonMicrosoft word, Helvetica). 

I ran into a wierd one recently--an entrant presented their work with no
introduction whatsoever. Use an intro--tell your judges what they are
looking at. (The other judges on this particular entry found it as
baffling as I did.) Don't make your judges guess.
 
> When you use sources, you don't need to list every book you've ever 
> read on the subject. Use the ones which gave you good information 
> and which are considered to be good sources. 

But if you used the source, do include it in your reference list.
 
> Never assume that the judges know anything. Even if you think "but 
> everyone knows that", it still should be documented. Think of it as 
> something that is an educating too. (This also makes it more fun for 
> the judges.)
> 
> Never assume that the judges know nothing. Don't even bother to 
> bullshit or use scurulous sources. 
> 
> Use humor when appropriate. Judging a contest is not easy. It is 
> tiring in a physical and emotional sense. Appropriately place levity 
 can help the judges get through it more easily. (Avoid "groaners" as 
 these can make the judges less happy with reading your stuff. 
> There's 
> a fine line between appropriate and annoying.)

Be engaging. Think of yourself as teaching the judges. You will all have
a lot of fun. One of my past professors told his class of researchers,
"You are the expert. Your job is to teach me."

In all this, don't be concerned too much about the judges and whatever
biases they may bring into the competition (the good judges are aware of
theirs, and the bad ones don't care). Your job is to present your item
and your research to the best of your ability. Anything else is a random
factor. But it can help you in terms of your presentation to think of
things that the judges might ask about.

> I've probably forgotten some detail, as I'm doing this off the top 
> of my head. If so, hopefully some kind person will add in what I may 
> have left out.

Darned fine post, Kat! thanks! :D


Arlys

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To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Sew on Tudor Jewels-painted black diamnonds
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At 07:52 AM 11/2/2003 -0800, you wrote:

> > Kat, would that be _Ancestral Jewels_ , by Diana Scarisbrick ? Or is
> > it a different book?
>
>Different book. I went and found the book:
>_Jewellery in Britain 1066-1837_
><snip>
>
>Ms. Scarisbrick has actually written quite a few books on jewelry. In
>addition to the two mentioned above already she also has one strictly
>on necklaces and another on rings. She may have even more, but they
>are not (yet) on my shelves (or, like Ancestral Jewels, shelved in a
>different spot than the rest of her books.)
>
>Kat
><kat@redtrollforge.com>

Ms. Scarisbrick also wrote a small book titled "Tudor and Jacobean 
Jewellery" [yes, that *is* the spelling in the title], copyright date 1995, 
Tate Publications (ISBN 1-85437-158-4).  It's a nice compilation of jewelry 
in my particular area of prime interest.  It's a small book, only 104 
pages, but has 81 colour illustrations (lots of portraits).

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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Sun, 02 Nov 2003 07:52:04 -0800
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> Thanks for sharing that Kat. While I may never go into competition
> myself, at least now I know what all you look for in that kind of
> venture. In a way, I may just do that with this next dress I am
> working on, to document to myself how historical it really is, or not.

You're welcome.

I have done a lot of costume competition judging over the years. 
However, I usually try to do this when I'm making an outfit for 
myself even though I haven't entered any competitions for about 17 
years. It helps me think through what I'm making. I also help people 
do historical clothing and help them think through what they are 
making.

And as the years have gone by, I've been more particular about the 
sources I use for doing the stuff I make. I used to be satisfied 
with, for instance, using Hunnisett's pattern ideas without trying to 
try different construction ideas to see if they work better or fit 
more with what I've learned from extant clothing and the few existing 
tailor's manuals that we do have. (That isn't to say I come up with a 
better idea necessarily, but I at least have a better idea of *why* 
that works than I would have if I had just taken Hunnisett at face 
value.)

Kat
<kat@redtrollforge.com>


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> Plus, as I said, I have a really low forehead (and a
> widow's peak to boot). I'd have about 2 inches of
> hair showing if I wore a hennin on the line they're 
> most often depicted. That's a lot to lose. Especially
> since I don't really have bangs. I have hippy hair - even
> fairly close to my hairline it's at least waist length.

As Robin pointed out (probably in a conversation rather than on 
here), not everyone was cut out to have that sort of "fashionable" 
hairline. 

If your genetics is for low foreheads, then chances are you wouldn't 
have been in the position of wearing one. Someone with a "white 
bread" European ancestry (English or French especially) would have a 
much better chance, for instance, than someone with Eastern European 
or mediterranean ancestry.

Also, it depends on how you wear your hair. There is a phenomenon 
called "traction alopecia" where hair that has been kept tightly 
pulled (from pony tails or tight cornrowing) tends to thin out at the 
edges. If someone constantly wears their hair *tightly* pulled back 
from the forehead (especially if they have heavy hair) they will 
usually end up losing hair along the forehead line, so that it can 
end up looking like it's been plucked.

I've always thought that the ladies with the hennins look more like 
they had been having traction alopecia (with perhaps plucking just 
the few stray hairs that occur with that) than plucking a low 
forehead until it was the fashionable height (which usually doesn't 
give quite the same look.)

Kat
<kat@redtrollforge.com>


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> I have long held this belief (that I call "The Barbie Theory of
> Textile Development) that an absolute beginner is more likely to
> stubble upon an ancient technique by accident simply because she has
> nothing to cloud her judgment.  She just makes it work and it works. 
> And sometimes it's shockingly similar to what was done in the period
> under study, assuming the period is sufficiently primitive as the
> earliest knit wool stockings would have been.
> 
> It's not good scholarship, but it's surprising how many times it works
> in practice.

I have to laugh because an anthropologist I took classes from years 
ago had been trying to replicate a type of flint arrowhead, but no 
matter how hard he tried he just couldn't do it. That is he couldn't 
do it until one time when he was a bit drunk with some of his anthro 
buddies and they were doing some flint napping they ended up with 
*exactly* the right shape/pattern on the arrowhead.

Sometimes "accidents" of this sort let us know some things that study 
and intellect can't tell us. It's the reason why living history is 
not as ill thought of as it has been in the past and is becoming more 
and more accepted. Sometimes people do learn and understand better 
from *doing* an activity than merely studying about it.

That isn't to say that you totally depend on that. You still would 
want to do the research and back up your theories as to why you think 
that this may be the way they did something. (That's where the 
scholarship comes in.)

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
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> Another way of doing it is to use fancy fonts in titles and headers,
> but always present your text body in a clean, easy to read font.
> Unlike Kat, I prefer nothing larger than a 12 point, as I find larger
> fonts hard to read. Times New Roman is a nice font too.

Unfortunately, many people can't really read Times New Roman well. It 
is a serifed script. Studies on readability done for things like 
presentations and reading by people who have any eyesight problems 
have shown that a san-serif font/script (such as Helvetica and Arial) 
is demonstratably easier to read than a serifed font/script (such as 
Times New Roman). (Just because it's done in a newspaper doesn't mean 
that it doesn't impair reading ability/speed. And that is the last 
thing you want to have "impaired" when the judges are looking at your 
stuff.)

I guess the font size thing is the difference in eyesight problem. I 
wouldn't go smaller than 12point, however. Most people can adjust to 
reading larger easier than they can smaller. 

> I ran into a wierd one recently--an entrant presented their work with
> no introduction whatsoever. Use an intro--tell your judges what they
> are looking at. (The other judges on this particular entry found it as
> baffling as I did.) Don't make your judges guess.

Excellent point. Things like your time period and place, as well as a 
summary of what garments make up your presentation would go here 
well.

> > When you use sources, you don't need to list every book you've ever
> > read on the subject. Use the ones which gave you good information
> > and which are considered to be good sources. 
> 
> But if you used the source, do include it in your reference list.

Here is where Arlys and I have had many discussions. I feel that you 
should include it only if you quoted from it or used some specific 
piece of information from it. Just because you "used" it by reading 
it doesn't mean it should be cited. In the course of your research 
you will read *many* books and articles. Some of them will not be 
appropriate as sources. If you are thinking of including information 
from a poor source, consider that perhaps you need to have similar 
information from a more reliable source. 

Frankly, when I'm judging I scan down the sources they use. If I see 
things like Hill & Bucknell, Peacock, Gore, Iris Brookes, Wilcox, 
Norris and the like in the list, then I know that the person has 
probably done a superficial job of researching. If you've gathered 
the appropriate sources, you won't *need* to quote from these or use 
pictures or drawings from them. And it really doesn't matter if you 
read through them. You didn't really *use* them as a source.

> In all this, don't be concerned too much about the judges and whatever
> biases they may bring into the competition (the good judges are aware
> of theirs, and the bad ones don't care). Your job is to present your
> item and your research to the best of your ability. Anything else is a
> random factor. But it can help you in terms of your presentation to
> think of things that the judges might ask about.

That's why it is so important to "assume the judges know nothing". 
You can't do anything about a judge with a frozen/closed mind. But 
any other judge is going to appreciate that you know your subject and 
will hopefully get some new information for themselves. (This is one 
of the few perks from doing judging. The rest is just work.)

Kat
<kat@redtrollforge.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] Backgrounds for photoshoots -   Wierd question (was  link:
	"Accurate  Reproduction
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I need a background too for my starchhouse, starching a ruff with poking
sticks article, and I will probably resort to just whiting out the modern
background with Fireworks (Dreamweavers version of photoshop) as is done in
the Eyewitness series for economy sake.  But in my idea generating moments,
I did notice quite a few commercial buildings where I live have that
half-timber tudor look.  A dentist's office and a miniature golf course
specifically are constructed with these materials and it's quite possible
that such business might give access permission if approached and further
enhancements can be made with imaging software.  Or, you could fly to
Europe.........

Lisa Sinervo

----- Original Message -----
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 11:17 PM
Subject: Re: [h-cost] Re: Wierd question (was link: "Accurate Reproduction


> At 10:03 PM 11/1/2003 -0600, you wrote:
> >As for that background, what I really need is a plaster and woodframe
wall
> >inside with a tile floor ­ but my wife won't let me redo the apartment :)
>
>
> Hi Marc
>
> Can you make a set in a spare room somewhere, even at a friend's? Make a
> backdrop that looks like plaster and woodframe, with a small stage of the
> tile floor, and then set the lights and whatever offstage? Sort of a
> mini-theatre? You can even make it in parts, so you could store it
> someplace until needed?
>
> And have you thought of making several shoes in different stages of
> completion, so that photo shoots can go from one stage to another without
> so much time with actual construction? You may be able to sell the
> different shoes after you are done, especially if you make them in a close
> range of sizes?
>
> Just a few ideas.
>
> 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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Subject: Re: [h-cost] On the Subject of "Documentation" (long)
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I scribbled:

> > But if you used the source, do include it in your reference list.
> 
> Here is where Arlys and I have had many discussions. I feel that you 
>  should include it only if you quoted from it or used some specific 
> piece of information from it. Just because you "used" it by reading 
> it doesn't mean it should be cited. In the course of your research 
> you will read *many* books and articles. Some of them will not be 
> appropriate as sources. If you are thinking of including information 
> from a poor source, consider that perhaps you need to have similar 
> information from a more reliable source. 

To clarify: by "use," I mean incorporated into your presentation. Reading
something does not mean you used it. If you incoporate it, then you have
used it, and all sources so used must be cited.

Arlys


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And sometimes happy accidents happen in the middle of one's development
as an artisan and/or scholar.  Hearing about the stretchiness of linen
from Robin is entirely different from actually seeing it happen--either
in fitting a gown in one of her workshops, or having one of my
ItalianRen gowns (linen for summer) drop its hem an entire foot on one
very memorable, hot day at an event when the temps were in the 100s and
some of us...well...had a waterfight.
And of course, there are fortunate accidents like the invention of
chocolate chip cookies (off-topic, sorry, but all of a sudden, I'm
thinking it'd be fun to make them and I think I actually have all the
ingredients! <g>).
--sue

kat@grendal.rain.com wrote:
> 
> I have to laugh because an anthropologist I took classes from years
> ago had been trying to replicate a type of flint arrowhead, but no
> matter how hard he tried he just couldn't do it. That is he couldn't
> do it until one time when he was a bit drunk with some of his anthro
> buddies and they were doing some flint napping they ended up with
> *exactly* the right shape/pattern on the arrowhead.
> 
> Sometimes "accidents" of this sort let us know some things that study
> and intellect can't tell us. It's the reason why living history is
> not as ill thought of as it has been in the past and is becoming more
> and more accepted. Sometimes people do learn and understand better
> from *doing* an activity than merely studying about it.
> 
> That isn't to say that you totally depend on that. You still would
> want to do the research and back up your theories as to why you think
> that this may be the way they did something. (That's where the
> scholarship comes in.)
>
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  link:	"Accurate  Reproduction
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We use Corel PhotoPaint; but anyway, you can do anything in terms of 
putting people on backgrounds, putting two or more people in one 
picture, all kinds of stuff.  I do it all the time. It is time consuming 
though.  The problem is you can't usually just plop the figures onto the 
background. There are all these little areas, like the underarms of the 
people, where you end up fillling in detailed realistic background by 
hand, bit by bit.  What you fill in depends on the shapes of the 
background and the figures you put on it, but there are usually several 
areas.

Fran

Lisa Sinervo wrote:

>I need a background too for my starchhouse, starching a ruff with poking
>sticks article, and I will probably resort to just whiting out the modern
>background with Fireworks (Dreamweavers version of photoshop) as is done in
>the Eyewitness series for economy sake.  But in my idea generating moments,
>I did notice quite a few commercial buildings where I live have that
>half-timber tudor look.  A dentist's office and a miniature golf course
>specifically are constructed with these materials and it's quite possible
>that such business might give access permission if approached and further
>enhancements can be made with imaging software.  Or, you could fly to
>Europe.........
>
>  
>

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


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Sometimes we just don't know a particular thing or area (which I run
into occasionally when judging clothing or needlework that's out of my
personal range of experience). I remember the first time I ran across
someone talking about doing a fold-once hem on a garment made of fulled
wool--this was years ago, before the MoL books were commonly available
over here in my part of the US, and the contestant's research and
sources were *way* ahead of mine.  If she hadn't told me, specifically,
why she'd hemmed her gown the way she had, I would have said "oh, sloppy
job", and marked her down, all from *my* ignorance.
--sue, always willing to learn more


kat@grendal.rain.com wrote:
> 
> That's why it is so important to "assume the judges know nothing".
> You can't do anything about a judge with a frozen/closed mind. But
> any other judge is going to appreciate that you know your subject and
> will hopefully get some new information for themselves. (This is one
> of the few perks from doing judging. The rest is just work.)
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Organization: Medieval Hats: http://www.virtue.to
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Subject: [h-cost] Sidebar on Fonts: On the Subject of "Documentation" (long)
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From: http://usability.gov/guidelines/fonts.html

Guideline: Use either a familiar serif or sans serif font to achieve the 
best possible reading speed. Do not mix serif and sans serif fonts 
within the text, because it may decrease reading speed.

Comments: Research shows no reliable differences in reading speed or 
user preferences between 10-point Times Roman, Georgia serif fonts, 
Helvetica, or Verdana sans serif fonts.

Source:  Boyarski, D., Neuwirth, C., Forlizzi, J., and Regli, S.H. 
(1998). A study of fonts designed for screen display, CHI 98 Conference 
Proceedings, 87-94.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Knitting was certainly around before Elizabeth, so couldn't your H8
character knit something else besides sox?
--sue

Cozit / Liz wrote:
> 
> sigh... I'd been trying to come up with a Henry VIII character for faire
> that would knit.  No luck unless German.)
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Was just at my local Joann Fabrics and they had a beautiful lightweight
silk that was stitched in 1 inch squares with pearls sewn in the
centerin that just off-white color.  I think that's what I'm going to
use my 50% off coupon for-- at $39.99/yd that's the only way I'm buying
it.  Now to figure out what to make!.  Since the pearls are most
certainly fake, I wonder how it will take dye.  Anyone dyed fake pearls
before?
Kate

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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] 	Wierd question (was  link: "Accurate Reproduction
	Clothing")
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Marc,

Have you seen "Techniques of Medieval Armour Reproduction" by Brian R 
Price, published by Paladin Press?  It's an excellent book, aimed 
squarely at people wanting to make armour with modern tools, but I think 
it's approach could be relevant to you.  Where they are demonstrating 
techniques, they just show the hands, the tools and the item being made. 
For pictures of an armourers workshop, and that kind of thing, it uses 
reproductions of period woodcuts or engravings.

For close-ups you could get away with a wooden bench or maybe a leather 
apron if you work on your lap, perhaps a modern casual shirt with 
sleeves rolled up so the cuffs aren't distracting, and no jewellery.

I think if you needed to show techniques on a larger scale, I would be 
happier with non-descript modern clothing, "a person of today showing 
how it was done then", unless unless your aim is to show how to 
reproduce a medieval shoemakers' workshop and clothing.

Jean

Marc Carlson <marccarlson20@hotmail.com> wrote
>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 
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] hair
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How is her hennin constructed?  I've heard a lot of theories, but I 
didn't think there was enough evidence to confirm any of them.  How does 
it stay on?

Jean


Sablerose <tayla@sablerose.net> wrote
>
>I have it on good authority from someone who has worn a properly
>constructed 15th century hennin that plucking wasn't necessary.  The
>hennin takes care of removing hair from that area for you!  She's still
>growing her bangs back....
>
>Tayla
>----- Original Message -----
>From: "Dawn" <dawn@reddawn.net>
>To: "Historical Costume" <h-costume@indra.com>
>Sent: Saturday, November 01, 2003 6:09 PM
>Subject: Re: [h-cost] hair
>
>
>> Lee Thompson-Herbert wrote:
>>
>> > Then there's the elizabethan habit of plucking the _hairline_ as
>well to
>> > create a high brow (no plucking required for me).
>>
>>
>> I went looking a couple months ago on that, and I am now wondering if
>> this isn't one of those 'costume myths' that's being repeated in
>books.
>> Granted, I didn't do exhaustive research, just looked through a dozen
>or
>> two portraits in history and art books from the period, but it didn't
>> seem like foreheads were being plucked to me. The line in the
>supposedly
>> plucked portraits wasn't noticeably higher than the non-plucked
>portraits.
>>
>I can't say I've ever noticed it in Elizabethan portraits,
>but they definitely plucked the forehead under 15th
>century hennins. Those hairlines go back so far! I
>often curse my low forehead looking at them and
>think 'I am not plucking my forehead, I am not plucking
>my forehead....'.
>
>Claire
>
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To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Moire silk source
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Robin Netherton <robin@shell.nightowl.net> 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

I achieved a patch of watered silk when my steam iron dribbled - on a 
garment I was making from shot silk brought back for me from Singapore 
by a friend on a round-the-world trip :-(  Luckily I had enough spare to 
replace that panel.  So getting water on it certainly works, but I don't 
know how you'd make an even pattern.

Jean

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Kate Pinner wrote:

> Was just at my local Joann Fabrics and they had a beautiful lightweight
> silk that was stitched in 1 inch squares with pearls sewn in the
> centerin that just off-white color.
....
> Anyone dyed fake pearls before?

Oooohhh, I saw that. Nice stuff. I notice they are carrying a larger and 
larger selection of bridal silks now.

Unfortunately today I wanted wool, and I think there were maybe 3 bolts 
in the entire store, none of which was what I wanted. I found more of 
that hot pink linen, but they were asking $4.99 for it, even on the 
clearance wall.

RIT is on sale for 99 cents, and I forgot to get some. Argh!

Anyway, I have seen fake pearls that other people have dyed, and 
sometimes the inside part of the pearl takes the dye, but the 
irridescent coating they put on the outside won't. So if the pearl is 
scratched, or chipped the color shows, and it shows where the hole has 
been drilled.



Dawn



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Jean Waddie wrote:
> How is her hennin constructed?  I've heard a lot of theories, but I 
> didn't think there was enough evidence to confirm any of them.  How does 
> it stay on?

I have a truncated-cone/butterfly style which has a basketwork core 
structure.  It's springy yet holds its shape.  I managed to wear away 
some of my hair wearing it one afternoon.  I have since corrected the 
problems that lead to the, er, friction allopecia, and it stays on by a 
more gentle friction on my head, plus a steel hatpin through a tight bun.

At present, I believe the state-of-the-art theories are all conjecture. 
  I'd love to hear otherwise!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Marc Carlson" <marccarlson20@hotmail.com>
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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate Reproduction
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Kat:
>Or some sort of draped fabric.

Possible.  Since I have to do 5 separate series of photos, it's entirely 
possible that I may use ALL of these ideas :)

>You might want to look at portraits of the time to see what would have been 
>seen around the shoes. Sometimes it might be a plain wooden plank floor 
>which you can find at a local Boy Scout camp.

Our local Boy Scout camp uses concrete.   There aren't that many "portraits" 
from the periods that these shoemaking pictures are going to be coming from, 
really.  I have some ideas from Das Hausbuch der Mendelschen images from the 
1400s.  For the centuries before that I'll be making some educated guesses.

Fran:

>...Then there's the last one I worked for, where the editors were involved 
>from the very beginning, from working on the outline till the end. In daily 
>phone communication for months.

That would just drive me insane.  I work best when left to do my work.

Kimiko:
>Can you make a set in a spare room somewhere, even at a friend's? Make a 
>backdrop that looks like plaster and woodframe...

I've been giving this some thought.  It may be the best way for some of what 
I need to do.

>...And have you thought of making several shoes in different stages of 
>completion

I have -very- limited supplies of correctly tanned leather.  I don't even 
have enough that making mistakes in assembly is an option.

Thank you though.

Marc
(My photo manipulation skills are limited to removing parking lots from 
exterior shots, things like that.)

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From: Fran Grimble <fran@lavoltapress.com>
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>
>> ...Then there's the last one I worked for, where the editors were 
>> involved from the very beginning, from working on the outline till 
>> the end. In daily phone communication for months.
>
>
> That would just drive me insane.  I work best when left to do my work. 

I know what you mean; having tried, as a writer, to work with a few 
editors whose attitude was they thought up the work, and I should just 
write it according to their specs.  Sometimes  unworkable specs.  So I'm 
in your camp as a writer.

There are, however, authors who want their hands held; who want lots of 
editorial guidance and also want to call the editor at odd times and 
say, " I can't go on!" (a rather common mid-book syndrome BTW).  Some 
editors give all authors the same treatment regardless of the author's 
experience and temperament.  Of course this does not work.  At the 
beginning of the project you have to figure out a lot of things about 
the author, and say exactly the right things to establish a suscessful 
relationship.  Anyway, the authors who just went off and did their work 
were a lot easier on my schedule and stress level.  On the other hand, 
it was really nice to help people establish a career in writing more 
books.  Also, their problems were often so easy to solve and it cheered 
them up so much to get them solved, that it was very rewarding. 

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 Nov  2 21:20:38 2003
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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Watermarked silk, was Moire silk source
Date: Mon, 03 Nov 2003 02:19:49 +0000
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I have been thinking about this over the weekend, about what stains silk, how 
to get it to stay in and not wash out and talking to a couple of folks.  I 
haven't gotton to the library yet, that's later this week. 

But for right now I am doing a couple of experiments. I know that wine stains 
silk permanently, so now I have three swatches of silk, one with spots made 
from tap water, one with spots made from a water/white wine mix and one with 
spots made from straight white wine ($2.99 special from Trader Joe's). I have 
let them dry, then ironed them to cook the sugars in the wine to make the 
browning. The wine spots are leaving a good line around the edges and is 
visible from further away, which is the look I am going for, as this should 
pass the 6 foot visibility test.  The spots were pretty easy to make using my 
fingers or a tableware spoon. 

I have no documentation that this is how it was done, but it does look like 
watermarks, and how often have I spilled or had spilled a drink on a good 
party dress? 

-Marion
> I achieved a patch of watered silk when my steam iron dribbled - on a 

> garment I was making from shot silk brought back for me from Singapore 
> by a friend on a round-the-world trip :-(  Luckily I had enough spare to 
> replace that panel.  So getting water on it certainly works, but I don't 
> know how you'd make an even pattern.
> 
> Jean
> 
> -- 
> Jean Waddie
> 
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To: Historical Costume <h-costume@indra.com>
Subject: Re: hose gusset (was Re: [h-cost] Re: Hose/stockings
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> I don't believe that the first stocking knitters said,
>"We have to make a triangular gusset in the ankle so it looks like cut
>hose."  They had to make a turn there to make the stockings fit.  The
>result simply looks like a gusset, but it's only because the purpose is
>the same, not that one was trying to look like the other.  Convergent
>evolution may not exist in biological circles, but maybe it does in
>textile ones.  =)
>
>Kass
>
>Good Point. The only reason that I can see that causes the need to make the triangular inset at the ankle of cuthose is the need to fill the triangle space made up when the fabric is cut to fit over the instep, and the two remaining bits to either side fold back and are joined at the heel. In a way, the "gusset" piece in the knitted hose fills the same function, although it is not the only way to do it (the same way that the abovementioned method of making cuthose is not the only way to do it). Sometimes I guess we are searching for a more complex reason when a simple one is staring us in the face! Cheers, Mike T.
>
>  
>

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From: Heather Meadows <alice@wonderland.com>
Date: Sun, 2 Nov 2003 20:12:57 -0800
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] off topic - linen for tablecloth
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I'm looking for some linen or linen-cotton blend that would be a nice 
weight and hand for a tablecloth and napkin set.  Has anyone purchased 
any recently that seemed like a good option for this?

thanks!

.heather.

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Subject: [h-cost] Re: On the Subject of "Documentation"
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A couple of brief bits of advice I've gotten that have made thinking 
through documentation lots easier. [*]

(1) The basic outline is:
      - Say what THEY did;
      - Say what YOU did;
      - Explain any differences.

(2) Your judges may or may not know things about what you've done (at 
least until you tell them). But what documentation demonstrates is 
that YOU know, and that you did things the way you did ON PURPOSE, 
not by accident!

Also, the following, from a class I taught a couple of years ago. 
Some of these may not apply to you, of course; take what you need!

(3) GETTING IT DOWN ON PAPER. This is one of the major difficulties 
for many people. A lot of people find it easy to talk, but 
excruciatingly hard to write. If getting it on paper is hard for you, 
enlist a friend to help: talk to them about your project, then one or 
both of you write down what  has just been said. Brainstorm a first 
draft and get it done: only later do you go back and revise it. My 
favorite quote from the poet Dylan Thomas: "I either write drunk and 
revise sober, or write sober and revise drunk." (They're two 
different processes!)

SOME COMMON MISTAKES IN DOCUMENTATION.

        Mistake # 1. Trying to pass something off as "period" which you
        know or strongly suspect is not.

        Mistake #2. Documentation that has nothing to do with the actual
        item being documented (i.e. documentation about the politics of the
        Crusades for a helmet).

        Mistake # 3. Documentation of what YOU did to make your project,
        but no documentation of how THEY made or used the same item in the
        Middle Ages (i.e. all about how you brewed your vegetable dyes in a
        modern pot, but not about what they had available).

        Mistake # 4. The opposite of #3: lots about what THEY did,
        nothing about what YOU did  (less common, but still possible --
        i.e. all about how medieval trestles were made and used but not
        about how you made yours).

        Mistake #5. Forgetting to document common stuff you think
        everyone knows. Keep it to one or two sentences, but do include it
        (i.e.. "There is a purse dated about 1400, knitted with similar
        designs using several colors, in Chur, Switzerland" shows that
        knitting, purses, colored yarns, multicolored designs, etc.were all
        present at that date).

        Mistake #6. Trying to hide or make excuses for modern methods
        and materials. Sometimes the correct materials or methods are not
        available, or are toxic or environmentally destructive. Sometimes you
        can't afford or don't have the skill to handle medieval materials or
        methods. In either case, say so, explain how the original objects
        were made, and explain why you chose the substitutes you did.

        Mistake #7. Assuming that if you have a very early date (like
        Neolithic or Roman times) and a very late date (like now), something
        "must" have been present all the time in between. Not so: things go
        out of fashion, and sometimes entire arts die out and are only
        rediscovered hundreds of years later. You need to show it was present
        in *your* times.

        Mistake # 8. Assuming that the information you find in later
        sources about how something was "traditionally" done or in "ancient"
        times is true for the Middle Ages. If your source doesn't give an
        actual date, assume it's no earlier than the 19th century, the
        Victorians being great ones for lumping all "old time" and
        "traditional" stuff together regardless of dates.

        Mistake #9. Not making the exact links clear between your
        project and your sources, especially  if your documentation (i.e. of
        design sources, etc.) uses different objects than what you actually
        did (i.e. using manuscript illuminations as sources for ceramic tile
        design). Explain clearly what the connection is and why you think
        it's a good one.

        Mistake # 10. Not clearly identifying the sources you used.
        (Full book or article title, author, periodical or publisher, and
        date. For books the ISBN number is nice too.)


-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
_________________________________________________________
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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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>is dense & not stretchy.

>dense and not very flexible.

Point of clarification re. linen and silk stockings:  Do you mean 'very 
little stretch' or do you mean 'no stretch at all'?

        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: hose gusset (was Re: [h-cost] Re: Hose/stockings
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Status: RO

I don't think there were knitted stockings before that gusset.  I think all 
the 16th-18th century stockings I have ever seen photos of have that 
gusset, clocks or not.

>Hi. I got that part. See below where I mention that my wife states the 
>very same thing. I am wondering, however, as I stated (the egg and chicken 
>idea), which one influenced the other first. This would require a study of 
>knitted hose before the introduction of clocking, to see how those 
>pre-clocked knitted ones were constructed. This would provide the 
>conjecture with some needed docs, although it wouldn't necessarily mean 
>anything, as pre late 16th Cent. cut hose still used the ankle gusset 
>method of construction. I have two pair of cuthose in linen, and I can't 
>really see the difference in the feel of the wear. Frankly, the ankle 
>gusset ones were harder to construct, and have more stress points on them 
>than the others, and use up greater portions of non-symmetrical fabric 
>bits.  Mike T.
>
>>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.
>>
>>>  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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        CarolynKayta Barrows
dollmaker, fibre artist, textillian
          www.FunStuft.com

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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?

I agree with those who said that people will pick on you no matter what. But
if you spell out clearly the purpose of your book (and in this case, I guess
it is on SHOES), and that you don't focus on clothing, just want to provide
a feel of what the clothing might look like, then you'll be fine. I like to
see what shoes are supposed to go with what. Sometimes, our interpretation
of time division and styles are different, and we're not sure what kind of
shoe would go with what. Having models would solve that little dilemma.

Do let us know when your book comes out. I'm interested.
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> 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....)

But who would have thought to get someone to train her? I don't think that's
something they would have thought of. Or we wouldn't have so many actresses
portraying ladies in corsets actually trying to slouch.
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> 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.).

Ooh, this changes everything. Then I agree, I think having the
work-in-progress pictures with the models in period clothing would be
distracting. I think it would somehow look wrong, because you couldn't
possibly have all the tiny little details right. If they were in period
clothing, I'd expect them to be using only period tools and using those
tools exactly in the period way, in a period setting.... I think I'd prefer
someone dressed plainly in modern clothes.
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Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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On Sunday 02 November 2003 02:27 am, Audrey Bergeron-Morin wrote:
> > 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....)
>
> But who would have thought to get someone to train her? I don't think
> that's something they would have thought of. Or we wouldn't have so many
> actresses portraying ladies in corsets actually trying to slouch.

The movie paid enough attention to historical detail in terms of setting and 
the costumes themselves; I would have expected them to do better.



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] hair/hennin
Date: Mon, 3 Nov 2003 22:12:34 +1300
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<<I have a truncated-cone/butterfly style which has a basketwork core
structure.  It's springy yet holds its shape.  I managed to wear away
some of my hair wearing it one afternoon.  I have since corrected the
problems that lead to the, er, friction allopecia, and it stays on by a
more gentle friction on my head, plus a steel hatpin through a tight bun.>>

I just use the black band and it's all good;)

And I've lost a *lot* of hair thanks to being on stuff used in chemo, and
other wonderful drugs to keep me mobile, so hair loss is a *huge* concern
for me.

My black band is two layers of black velveteen and a layer of blanket wool
in the middle. The loop is covered in black velvet and sits *on* the wool so
the wire is very well padded before sitting on my head.

it now also hooks up the back and while there is a lot of tension it's also
a bit awkward for me to get all my hair into a pony tail, so much hair is
squished inside the band ranther than being pulled all the way through.

The the hennin squishes on top (the wire frame is also covered by a layer of
felt and the velvet of the cover as it's turned to the inside to neaten.

I don't need a pin, and although it sits far back in my photo, it now sits
much more upright like in the Petrus Christus girl in teal with black hennin
and veil.

The hat can also sit far back without much worry about it falling off too
should I want to wear it like the particular English style like Elizabeth
Woodville et al.

But yes, the band as I made it is a bit of a median between the hennin and
hair;)

As for the high hairline.. I credit a lot of that to artistic manipulation.
Especially later in the century when beauty rather than "reality" became
more important in portraiture and the limitations of illuminatiosn to get
much detail.

I have a photo of an effigy that shows a much more natural hairline and it
looks rather more like I'd expect a woman of moderation to have. rather than
someone following the extremes of fashion.

I may have save the whole page so I can direct to the site maybe if anyone
wants to see... I'm hopeless at remembering things like this though...

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] costume books I've just bought, and why
	costumingistaking a back	seat now:(
Date: Mon, 3 Nov 2003 22:18:57 +1300
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>  > 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!

Right.. and this is a case in point of my last email;) I lost the book, then
found it and forgot about it... however she is right here...

Anne of Cleves
Fourth wife of Henry VIII
Mary Saaler
The Rubicon Press, 1995
ISBN 0-948695-41-2

There is a nice photo of a portrait of her by the workshop of Barthyl Bruyn
which looks like a better version of the one we are familiar with.. she has
stripey sleeves and is holding a pink. Her head gear is different too. Much
more flattering than the other one. I thought I read in the text that the
painting has been destroyed/lost and only b/w photos remain...

michaela
http://costumes.glittersweet.com


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----- Original Message ----- 
From: <kat@grendal.rain.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 03, 2003 2:52 AM
Subject: Re: [h-cost] hair


> 
> > Plus, as I said, I have a really low forehead (and a
> > widow's peak to boot). I'd have about 2 inches of
> > hair showing if I wore a hennin on the line they're 
> > most often depicted. That's a lot to lose. Especially
> > since I don't really have bangs. I have hippy hair - even
> > fairly close to my hairline it's at least waist length.
> 
> As Robin pointed out (probably in a conversation rather than on 
> here), not everyone was cut out to have that sort of "fashionable" 
> hairline. 
> 
> If your genetics is for low foreheads, then chances are you wouldn't 
> have been in the position of wearing one. Someone with a "white 
> bread" European ancestry (English or French especially) would have a 
> much better chance, for instance, than someone with Eastern European 
> or mediterranean ancestry.
> 

Heh, heh, spot on, my ancestors are peasants all the way back :-)
I guess it's like any other style when I look at it and think 'I am
so not suited for that'. I wouldn't have been suited for it x number of
years ago either, but I would still have been trying to wear it (chances
are). Still I have to say I'm rather less inclined to have a go at
those styles I wouldn't look like the appropriate ideal in. Not only
for the sake of my own vanity, but also from a desire to not
misrepresent that period by looking wrong. But I guess that's 
flawed logic in that I am not really misrepresenting it, just looking
like someone who is my height/shape/colouring would in that style.
Am I going round in circles yet?

> Also, it depends on how you wear your hair. There is a phenomenon 
> called "traction alopecia" where hair that has been kept tightly 
> pulled (from pony tails or tight cornrowing) tends to thin out at the 
> edges. If someone constantly wears their hair *tightly* pulled back 
> from the forehead (especially if they have heavy hair) they will 
> usually end up losing hair along the forehead line, so that it can 
> end up looking like it's been plucked.
> 
> I've always thought that the ladies with the hennins look more like 
> they had been having traction alopecia (with perhaps plucking just 
> the few stray hairs that occur with that) than plucking a low 
> forehead until it was the fashionable height (which usually doesn't 
> give quite the same look.)
> 
A sort of 'which came first, the baldness or the hennin?' 
Maybe one could train oneself into a hennin style by wearing tight
pigtails mundanely. If you have the sort of hair that cooperates with
that sort of thing anyway. And, as I said before, if you don't mind 
showing up in a modern context with odd hair. 
I guess a modern hairline in a hennin might be one of those anachronisms 
we might just have to put up with (in ourselves as well as in others).
>From all this rambling you may or may not have worked out that
this is one of those historical styles that I think is rather lovely and
elegant, but have so far avoided doing because I would just look 
wrong in it. 

Claire. 
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I know there's at least one glaring error in "Shogun", but I can't
remember whether it's in the series or just the book. Circa 1600, our
hero shows the Japanese how to use muskets with bayonets, which is
clever of him as the bayonet will not be invented for another 80 years
or so!

Kate Bunting (ploughing through hundreds of messages after a week off
with flu)
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My present design work puts me in an Eighteenth C mode.
>From JoAnns last week, found a piece of ersatz leather, buff color, on the remnant table.  Just what I needed for a hunt jacket as seen in Revolution in Fashion. Sewed up like a dream, presented the stiff leather look I needed, and when overdyed for aging purposes, came out quite realistic without changing the 'hand' but muting the white flannel backing.
>From Fire Mountain latest catalogue:  Components for making buttons from any flat surface jewel for what have you!  Metal findings are in 'gold and silver' and can be stacked.  Great possibilities.
Kathleen
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Subject: Re: [h-cost] Watermarked silk, was Moire silk source
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Status: RO

I believe "watermarked" silk, at least by the 18th century, was done with 
heated rollers, not real water spots.

I think the most difficult task you will have is getting any kind of 
uniformity or regularity over a range of yards.  Granted it doesn't need to be totally 
regular, but you don't want, say dime sized spots on parts and dinner plate 
sized on others without control.  I could see how you could cut smaller pieces 
out of areas with smaller spots, and larger out of areas with larger spots.
But the whole endeavor sounds kind of risky to me--you risk ruining yards of 
perfectly good silk.

Ann Wass
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Subject: Re: [h-cost] Watermarked silk, was Moire silk source
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On the subject of 'watermarked fab., I found a wonderful yardage of what
appeared to be 'moiré in Boston that I later used for a 17th C costume.
When the bottom got unfortunately wet, the watermarked features of the
fabric disappeared. I was not aware of how the fashion 'stain' was set.  Now
I do, and thankyou for this discussion.
Kathleen
----- Original Message ----- 
From: <AnnBWass@aol.com>
To: <h-costume@indra.com>
Sent: Monday, November 03, 2003 8:46 AM
Subject: Re: [h-cost] Watermarked silk, was Moire silk source


> I believe "watermarked" silk, at least by the 18th century, was done with
> heated rollers, not real water spots.
>
> I think the most difficult task you will have is getting any kind of
> uniformity or regularity over a range of yards.  Granted it doesn't need
to be totally
> regular, but you don't want, say dime sized spots on parts and dinner
plate
> sized on others without control.  I could see how you could cut smaller
pieces
> out of areas with smaller spots, and larger out of areas with larger
spots.
> But the whole endeavor sounds kind of risky to me--you risk ruining yards
of
> perfectly good silk.
>
> Ann Wass
> _______________________________________________
> 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>
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At 10:31 PM -0800 11/2/03, Carolyn Kayta Barrows wrote:
>I don't think there were knitted stockings before that gusset.  I 
>think all the 16th-18th century stockings I have ever seen photos of 
>have that gusset, clocks or not.

      I take it you mean only European stockings?  The coarse socks at 
the Museum of London do not have gussets, and I think some of the 
Middle Eastern are also constructed differently.

>Point of clarification re. linen and silk stockings:  Do you mean 
>'very little stretch' or do you mean 'no stretch at all'?

      To clarify that, you probably need to find a pair of antique 
stockings & check them yourself.  I know Mike is near or in Maryland 
which is why I said I could show him my collection.

      Tightly knit T-shirt fabric is stretchy.  The stockings are not 
compared to that.  They're flexible on the bias, not at all 
vertically and very slightly horizontally.

      Silk jersey knits are very stretchy, and silk plain knits (which 
are more difficult to find) are stretchy.  Both will give you a much 
smoother fit than the originals did.

      -Carol
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] hair/hennin
To: Historical Costume <h-costume@indra.com>
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Status: RO

I have mostly European and Celtic ancestry and I have
what is considered a high forhead. I would still have
to lose at least an inch of hair to match some of the
paintings showing Hennins. I tend to agree that they
might have represented an ideal, rather than
actuality. 


> 
> I have a photo of an effigy that shows a much more
> natural hairline and it
> looks rather more like I'd expect a woman of
> moderation to have. rather than
> someone following the extremes of fashion.
> 
> I may have save the whole page so I can direct to
> the site maybe if anyone
> wants to see... I'm hopeless at remembering things
> like this though...
> 
> michaela
> http://costumes.glittersweet.com
> 
> 
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=====
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On Mon, 3 Nov 2003, Purple Elephant wrote:

> > As Robin pointed out (probably in a conversation rather than on 
> > here), not everyone was cut out to have that sort of "fashionable" 
> > hairline. 
> > 
> > If your genetics is for low foreheads, then chances are you wouldn't 
> > have been in the position of wearing one. Someone with a "white 
> > bread" European ancestry (English or French especially) would have a 
> > much better chance, for instance, than someone with Eastern European 
> > or mediterranean ancestry.

> Heh, heh, spot on, my ancestors are peasants all the way back :-) I
> guess it's like any other style when I look at it and think 'I am so
> not suited for that'. I wouldn't have been suited for it x number of
> years ago either, but I would still have been trying to wear it
> (chances are). Still I have to say I'm rather less inclined to have a
> go at those styles I wouldn't look like the appropriate ideal in. Not
> only for the sake of my own vanity, but also from a desire to not
> misrepresent that period by looking wrong. But I guess that's flawed
> logic in that I am not really misrepresenting it, just looking like
> someone who is my height/shape/colouring would in that style.

But the point here -- which Kat remembers correctly from our conversation
about this -- is that in the period, you very likely *wouldn't* have been
trying to wear that style at all -- not for class reasons, but for
regional ones. In the modern Western world, particularly in the U.S.,
we're used to seeing a wide combination and variation of facial/body
types. But regional "looks" were much more homogeneous in medieval Europe.
Think of hair and skin color, for instance -- in some regions, nearly
everone is fair, and in other reasons, essentially everyone is dark.

Styles of things such as headdress typically developed based on the
overwhelmingly prevailing physical type of the area. Kat probably heard me
tell a story about headdresses. My own genetic background is thoroughly
Russian, with roots in the Middle East. I have large brown eyes and a
small triangular face -- low forehead, pointed chin. As luck would have
it, my primary area of costume study is Franco-Flemish, where high
foreheads, larger faces, and fair coloring is the norm. Those styles will
never look right on me, because they weren't designed to look right on me.
Then one time I tried on a medieval Russian headdress that had a straight
line of dangly bits across the forehead, down to the brow, and shaped side
pieces. Everyone looking at me gasped -- it framed my face perfectly and
accented my eyes. Of course; I have a Russian face, and the shape of the
headdress was designed to flatter that facial type. Because of my coloring
and facial shape, I also look good in Greek and in some Italian styles.

This has nothing to do with class, but everything to do with gene pool. A
woman with a face like mine in medieval Flanders would have been
noticeably foreign, even freakish, not just one of many people within the
typical range of variation.

I've heard the same observation made about other parts/styles of costume.
I remember someone once pointing out that a Japanese member of a Highland
Dance troupe, although costumed perfectly correctly, was visually jarring
when the dancers performed in a line -- not because of his facial
differences, but because he had a proportionately long body and short
legs, while the European members had proportionately long legs and shorter
bodies.

(A few years ago, we had a thread about this when some of our European
listmates commented that a sequence of pictures of people at some costumed
event looked "really American," but they couldn't pinpoint why. Eventually
we figured that it was because the grouping of people was so heterogenous,
and the combination of many different facial/body types screamed
"American" to Europeans who were, still, used to less variation within a
group.)

That's not to say that there aren't also "ideal" types within the genetic
range of an area. Golden hair was more prized than light brown. Fitted
dresses look reasonably good on most women, but they achieve a particular
ideal shape only on certain figure types -- which were immortalized in
zillions of manuscript paintings even though the women with such perfect
figures would have been no more common than today's supermodels. But
that's not what Kat or I are talking about here.

As it happens, most re-enactment groups I know have a general assumption
of tolerance -- people are welcome to wear the period/style that pleases
them, and everyone around them unconsciously makes allowance for variation
in genetic type. But costume people are used to focusing on the *costume,*
and they look for specific things (like fit and workmanship and
fabric/color choice) and are not bothered by necessary allowances for
physical differences. When I lecture to academics who are *not* used to
seeing modern people in medieval costume -- but who *are* used to seeing
images from the period -- I find that they'll immediately focus on the
differences from what they're used to seeing. It's not that they're trying
to find fault or to be nitpicky, but that they'll automatically compare
the overall visual sense of the model to the overall visual sense of the
period and recognize that something's wrong or different. Often they can't
put their finger on it, so they'll assume it's something about the costume
itself, and it will look to them like someone is play-acting or doing
dress-up (like a child in adult clothing or a man in woman's clothing,
though not so extreme). This is not a conscious thought process on their
part; they're not saying "You did X wrong," just having a reasonable
instinctive reaction of "That doesn't look like the pictures somehow;
something's wrong." And so it's harder for them to see the connections or
take the example seriously. For that reason, I don't normally model my own
work for academic audiences; I try to find a model who's close to the
genetic type of the culture that would have worn a particular style -- so
the visuals will immediately "click" for them, on an instinctive level, as
being a live version of what's preserved in artwork.

I should also underscore that visual demonstration of period styles has
quite a different purpose from re-enactment, where the goal is for the
re-enactor to "get inside" the period individual's clothes and experience
some aspects of living as period people did. Understanding this difference
goes a long way to explaining the gut response of many academic historians
who have never done re-enactment when they observe re-enactors on display.

--Robin


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Subject: Re: [h-cost] On the Subject of "Documentation"
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Hi there -   I suspect you will receive many replies to this query.  So 
here is one more.  ; >

Remember - when all is said and done,  documentation is like a resume in 
that everyone has their own way of doing it.   And There is NO Single Right 
Way.

That said - there are things that good documentation has in common.
-  A use of primary resources
-  Clear easy to follow layout
-  A list of how your recreation differs from the items that inspired you
-  The reasons behind the choices you made and if you can
-  How your choices influence your final product.

Good luck to you,  and enjoy your research
Bridgette

> > 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?




Mari Stewart
Cornell University


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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
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Subject: [h-cost] since it's Hallow'een/ well better late than never.
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 We have decorated our front porch for years and sat
out front in costume to give away treats. Its a blast
watching the little ones react to the decor. I use a
combination of black light and red bulbs to create the
effect I want without it being too dark. I use a lot
of fake white spider webs that reflect the light and
that helps. I hope this helps for next year. I also
have plastic bones/skeletons that have some some sort
of glow in the dark stuff on them. They glow just
enough that I use them to outline the walkway. Then
you don't need a lot of super-expensive props to do
this.  

> > 
> Thanks for sharing what you did. I had my first real
> Halloween ever in 37 
> years (long story), but with minor decorations.
> However, I already want to 
> do more for our front porch next year.
> 
> I know it isn't costuming specifically, but how do
> you balance black light 
> and regular light? My black lights were too dark, so
> I had to add in 
> regular lights just to let people know our home was
> open for trick or treating.
> 
> And thanks for that GID polymer clay info. I am
> going to have to look for 
> some of that.
> 
> If you have any photos of tonight's setup, I would
> love to see them.
> 
> And to make it costume related, how does one deal
> with wearing black 
> costumes, yet not appear to disappear into the
> night?
> 
> And I hope you all had a Happy Halloween, I know I
> sure did.
> 
> Kimiko
> Basking in the glow of a good Halloween evening.
> 
> 
> 
> 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 

=====
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] Facial and body types & costume (was: hair)
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Robin wrote:
<<(A few years ago, we had a thread about this when some of our European
listmates commented that a sequence of pictures of people at some
costumed
event looked "really American," but they couldn't pinpoint why.
Eventually
we figured that it was because the grouping of people was so
heterogenous,
and the combination of many different facial/body types screamed
"American" to Europeans who were, still, used to less variation within a
group.)>>

I'm reminded of a posting on the BBC America website criticizing the
makeover show "What Not To Wear".  The criticism (from a US viewer) was
that the show's hairstylists gave every woman the same cut and colour.
On the surface, this appeared to be true, but if you looked deeper,
there was a bigger reason for it.  Almost all of the women featured on
the show were fair with ruddy skin and light eyes.  Most also shared a
round face shape.  The hair stylists gave them similar cuts and colour
because they had similar features and the hairstyle look good on all of
them.

Two notable exceptions were an Indian woman and a Jamaican woman.  These
ladies received a completely different treatment from the stylist.

It wasn't that the stylists were giving everyone the same haircut.  It
was that the people on the show were remarkably similar-looking.

Kass

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Bravo, Robin. Great post. And very true--I have a friend of Dutch
(Flemish) ancestry, who has a forehead so high that she could plop a
hennin on top of it and go, no shaving required. She has a very narrow
ribcage, too, and carries her weight in her hips. In fact, I'm
trying to get her to dress Burgundian, if only because she would look so
eerily perfect in it.

Drea

On Mon, 3 Nov 2003, Robin Netherton wrote:
>
> But the point here -- which Kat remembers correctly from our conversation
> about this -- is that in the period, you very likely *wouldn't* have been
> trying to wear that style at all -- not for class reasons, but for
> regional ones. In the modern Western world, particularly in the U.S.,
> we're used to seeing a wide combination and variation of facial/body
> types. But regional "looks" were much more homogeneous in medieval Europe.
> Think of hair and skin color, for instance -- in some regions, nearly
> everone is fair, and in other reasons, essentially everyone is dark.
>
> Styles of things such as headdress typically developed based on the
> overwhelmingly prevailing physical type of the area. Kat probably heard me
> tell a story about headdresses. My own genetic background is thoroughly
> Russian, with roots in the Middle East. I have large brown eyes and a
> small triangular face -- low forehead, pointed chin. As luck would have
> it, my primary area of costume study is Franco-Flemish, where high
> foreheads, larger faces, and fair coloring is the norm. Those styles will
> never look right on me, because they weren't designed to look right on me.
> Then one time I tried on a medieval Russian headdress that had a straight
> line of dangly bits across the forehead, down to the brow, and shaped side
> pieces. Everyone looking at me gasped -- it framed my face perfectly and
> accented my eyes. Of course; I have a Russian face, and the shape of the
> headdress was designed to flatter that facial type. Because of my coloring
> and facial shape, I also look good in Greek and in some Italian styles.
>
> This has nothing to do with class, but everything to do with gene pool. A
> woman with a face like mine in medieval Flanders would have been
> noticeably foreign, even freakish, not just one of many people within the
> typical range of variation.
>
> I've heard the same observation made about other parts/styles of costume.
> I remember someone once pointing out that a Japanese member of a Highland
> Dance troupe, although costumed perfectly correctly, was visually jarring
> when the dancers performed in a line -- not because of his facial
> differences, but because he had a proportionately long body and short
> legs, while the European members had proportionately long legs and shorter
> bodies.
>
> (A few years ago, we had a thread about this when some of our European
> listmates commented that a sequence of pictures of people at some costumed
> event looked "really American," but they couldn't pinpoint why. Eventually
> we figured that it was because the grouping of people was so heterogenous,
> and the combination of many different facial/body types screamed
> "American" to Europeans who were, still, used to less variation within a
> group.)
>
> That's not to say that there aren't also "ideal" types within the genetic
> range of an area. Golden hair was more prized than light brown. Fitted
> dresses look reasonably good on most women, but they achieve a particular
> ideal shape only on certain figure types -- which were immortalized in
> zillions of manuscript paintings even though the women with such perfect
> figures would have been no more common than today's supermodels. But
> that's not what Kat or I are talking about here.
>
> As it happens, most re-enactment groups I know have a general assumption
> of tolerance -- people are welcome to wear the period/style that pleases
> them, and everyone around them unconsciously makes allowance for variation
> in genetic type. But costume people are used to focusing on the *costume,*
> and they look for specific things (like fit and workmanship and
> fabric/color choice) and are not bothered by necessary allowances for
> physical differences. When I lecture to academics who are *not* used to
> seeing modern people in medieval costume -- but who *are* used to seeing
> images from the period -- I find that they'll immediately focus on the
> differences from what they're used to seeing. It's not that they're trying
> to find fault or to be nitpicky, but that they'll automatically compare
> the overall visual sense of the model to the overall visual sense of the
> period and recognize that something's wrong or different. Often they can't
> put their finger on it, so they'll assume it's something about the costume
> itself, and it will look to them like someone is play-acting or doing
> dress-up (like a child in adult clothing or a man in woman's clothing,
> though not so extreme). This is not a conscious thought process on their
> part; they're not saying "You did X wrong," just having a reasonable
> instinctive reaction of "That doesn't look like the pictures somehow;
> something's wrong." And so it's harder for them to see the connections or
> take the example seriously. For that reason, I don't normally model my own
> work for academic audiences; I try to find a model who's close to the
> genetic type of the culture that would have worn a particular style -- so
> the visuals will immediately "click" for them, on an instinctive level, as
> being a live version of what's preserved in artwork.
>
> I should also underscore that visual demonstration of period styles has
> quite a different purpose from re-enactment, where the goal is for the
> re-enactor to "get inside" the period individual's clothes and experience
> some aspects of living as period people did. Understanding this difference
> goes a long way to explaining the gut response of many academic historians
> who have never done re-enactment when they observe re-enactors on display.
>
> --Robin
>
>
> _______________________________________________
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> Also, it depends on how you wear your hair. There is a >phenomenon called
"traction alopecia" where hair that has been >kept tightly  pulled (from
pony tails or tight cornrowing) >tends to thin out at the  edges. If
someone constantly wears ?>their hair *tightly* pulled back  from the
forehead 
>(especially if they have heavy hair) they will  usually end up >losing
hair along the forehead line, so that it can  end up ?>looking like it's
been plucked.

I remember reading that in Japan, women of a certain age who had trained as
geisha had a small perfectly round bald patch on the crown of their heads. 
It was referred to as "the maiko's badge of honor", and was caused by
repeated pulling of that part of the hair into a tight pony-tail to form
the basis for the elaborate hairstyles of the maiko (literally "dancing
child", a term for an apprentice geisha), and was seen as emblematic of the
hardship and training she had undergone.

Wendy Zdrodowski
(see, I'm NOT just into Elizabethan!)
Chicago, IL

 
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Re: Hose/stockings
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Carol Kocian writes, in a message sent 09:08 AM 11/3/03 -0500:
>At 10:31 PM -0800 11/2/03, Carolyn Kayta Barrows wrote:
>>I don't think there were knitted stockings before that gusset.  I think 
>>all the 16th-18th century stockings I have ever seen photos of have that 
>>gusset, clocks or not.
>
>      I take it you mean only European stockings?

Yes.

>  The coarse socks at the Museum of London do not have gussets, and I 
> think some of the Middle Eastern are also constructed differently.
>
>>Point of clarification re. linen and silk stockings:  Do you mean 'very 
>>little stretch' or do you mean 'no stretch at all'?
>
>      To clarify that, you probably need to find a pair of antique 
> stockings & check them yourself.  I know Mike is near or in Maryland 
> which is why I said I could show him my collection.

Too bad I live in California and can't get to see them too.

>      Tightly knit T-shirt fabric is stretchy.  The stockings are not 
> compared to that.  They're flexible on the bias, not at all vertically 
> and very slightly horizontally.

Some stretch - I thought so.  I'm perfectly willing to believe not very 
much stretch, just not no stretch.

>      Silk jersey knits are very stretchy, and silk plain knits (which are 
> more difficult to find) are stretchy.  Both will give you a much smoother 
> fit than the originals did.

I actually have some silk knit, but it's printed so I'm going to have to 
make underwear and not stockings out of it.  It's not very stretchy, but 
does have some give parallel to the rows of stitches; more on the bias.

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

              //// \\\
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Kate Bunting
Library, University of Derby

>>> Lady_Angharad@bigpond.com 11/02/03 11:06am >>> wrote:

>Plus, as I said, I have a really low forehead (and a
>widow's peak to boot). I'd have about 2 inches of
>hair showing if I wore a hennin on the line they're 
>most often depicted. 

Me, too (not that I wear hennins, but the same applies for other
periods).
My hair grows low at the front and is extremely thick and heavy too. I
suppose it would have depended on personal taste and the amount of time
the individual had to spare for personal grooming, whether women with a
low hairline would have removed any hair to conform with the fashionable
"look". 
Glenda Jackson apparently shaved her forehead when she played Queen
Elizabeth I.
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Robin Netherton wrote:
> Of course; I have a Russian face, and the shape of the
> headdress was designed to flatter that facial type. Because of my coloring
> and facial shape, I also look good in Greek and in some Italian styles.

This is really keen.  I think it is a different issue than that which I 
see with a lot of people new to historical styles -- they don't know how 
to "read" the historical style as attractive in its own right, so they 
want, say, a good looking victorian dress, but wear nothing over their 
short, frosted hairdo.  Once you've been doing whatever period for a 
while, your idea of what looks attractive will change.

There's also the issue of age-appropriate dress, which is another 
stumbling block.  (Do your lectures touch on this, Robin?)  Some 
medieval outfits are clearly for the young men and women, while their 
elders dressed more conservatively, but often we ingnore that in 
re-creations, resulting in the equivalent of senior citizens in Britney 
Spears outfits.

> (A few years ago, we had a thread about this when some of our European
> listmates commented that a sequence of pictures of people at some costumed
> event looked "really American," but they couldn't pinpoint why. Eventually
> we figured that it was because the grouping of people was so heterogenous,
> and the combination of many different facial/body types screamed
> "American" to Europeans who were, still, used to less variation within a
> group.)

Could also have been the distance between the people; personal space is 
one of those things that Americans seem to have a lot more of than other 
national groups.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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Kate M Bunting wrote:
> suppose it would have depended on personal taste and the amount of time
> the individual had to spare for personal grooming, whether women with a
> low hairline would have removed any hair to conform with the fashionable
> "look". 

Someone has mentioned that some hair might be not painted in because the 
fashion was for a high forehead (much as I'd like someone painting me to 
lessen my double chin(s)).  In addition to this, if you're blonde, the 
hair won't show much.  And, even if painted in, it might not show in 
reproductions.  This painting
http://www.virtue.to/articles/images/1460_lady_weyden.jpg

I have seen in person, and she's got blonde hair in a 
not-desperately-high hairline, but it doesn't show up in the copies I 
have seen.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate	Reproduction
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From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
>....possibly have all the tiny little details right. If they were in period
>clothing, I'd expect them to be using only period tools and using those
>tools exactly in the period way, in a period setting.... I think I'd prefer
>someone dressed plainly in modern clothes.

But they will be using only period tools and period techniques.  That's the 
point of the book :)

Marc

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From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] hair/hennin
Date: Mon, 3 Nov 2003 12:54:46 -0500
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I also think hair color makes a bit of difference. My hair is naturally a
dark ash color with white blond around my hairline. When I made a henin I
was worried about my hair showing around the edges, but when I slicked it
all back into a bun and fit the hat onto my head it virtually dissapeared. I
expect someone with blonde hair would find the same thing.

 I do have a painting some where in my computer that has a group of young
girls, all fair haired, wearing the hairbands with the loop. On most of them
you can see their hairline, but it's not immediately noticable because they
are all blonde.

Just a thought. :-)

Sheridan


Subject: Re: [h-cost] hair/hennin


> I have mostly European and Celtic ancestry and I have
> what is considered a high forhead. I would still have
> to lose at least an inch of hair to match some of the
> paintings showing Hennins. I tend to agree that they
> might have represented an ideal, rather than
> actuality.
>
>
> >
> > I have a photo of an effigy that shows a much more
> > natural hairline and it
> > looks rather more like I'd expect a woman of
> > moderation to have. rather than
> > someone following the extremes of fashion.
> >
> > I may have save the whole page so I can direct to
> > the site maybe if anyone
> > wants to see... I'm hopeless at remembering things
> > like this though...
> >
> > michaela
> > http://costumes.glittersweet.com
> >
> >
> > _______________________________________________
> > 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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> Messenger http://mail.messenger.yahoo.co.uk
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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Hey, so that's what it was!
I have always noticed after SCA events how jarring it is to see some people
in their modern clothing, their historical clothing suited them so much
better. It completely makes sense that clothing developed in specific areas
would suit some people more than others. Thanks for helping me put a finger
on what was bothering me so! :-)

Sheridan


----- Original Message -----
From: "Drea Leed"
> Bravo, Robin. Great post. And very true--I have a friend of Dutch
> (Flemish) ancestry, who has a forehead so high that she could plop a
> hennin on top of it and go, no shaving required. She has a very narrow
> ribcage, too, and carries her weight in her hips. In fact, I'm
> trying to get her to dress Burgundian, if only because she would look so
> eerily perfect in it.
>
> Drea
>
> On Mon, 3 Nov 2003, Robin Netherton wrote:
> >
> > But the point here -- which Kat remembers correctly from our
conversation
> > about this -- is that in the period, you very likely *wouldn't* have
been
> > trying to wear that style at all -- not for class reasons, but for
> > regional ones. In the modern Western world, particularly in the U.S.,
> > we're used to seeing a wide combination and variation of facial/body
> > types. But regional "looks" were much more homogeneous in medieval
Europe.
> > Think of hair and skin color, for instance -- in some regions, nearly
> > everone is fair, and in other reasons, essentially everyone is dark.
> >
> > Styles of things such as headdress typically developed based on the
> > overwhelmingly prevailing physical type of the area. Kat probably heard
me
> > tell a story about headdresses. My own genetic background is thoroughly
> > Russian, with roots in the Middle East. I have large brown eyes and a
> > small triangular face -- low forehead, pointed chin. As luck would have
> > it, my primary area of costume study is Franco-Flemish, where high
> > foreheads, larger faces, and fair coloring is the norm. Those styles
will
> > never look right on me, because they weren't designed to look right on
me.
> > Then one time I tried on a medieval Russian headdress that had a
straight
> > line of dangly bits across the forehead, down to the brow, and shaped
side
> > pieces. Everyone looking at me gasped -- it framed my face perfectly and
> > accented my eyes. Of course; I have a Russian face, and the shape of the
> > headdress was designed to flatter that facial type. Because of my
coloring
> > and facial shape, I also look good in Greek and in some Italian styles.
> >
> > This has nothing to do with class, but everything to do with gene pool.
A
> > woman with a face like mine in medieval Flanders would have been
> > noticeably foreign, even freakish, not just one of many people within
the
> > typical range of variation.
> >
> > I've heard the same observation made about other parts/styles of
costume.
> > I remember someone once pointing out that a Japanese member of a
Highland
> > Dance troupe, although costumed perfectly correctly, was visually
jarring
> > when the dancers performed in a line -- not because of his facial
> > differences, but because he had a proportionately long body and short
> > legs, while the European members had proportionately long legs and
shorter
> > bodies.
> >
> > (A few years ago, we had a thread about this when some of our European
> > listmates commented that a sequence of pictures of people at some
costumed
> > event looked "really American," but they couldn't pinpoint why.
Eventually
> > we figured that it was because the grouping of people was so
heterogenous,
> > and the combination of many different facial/body types screamed
> > "American" to Europeans who were, still, used to less variation within a
> > group.)
> >
> > That's not to say that there aren't also "ideal" types within the
genetic
> > range of an area. Golden hair was more prized than light brown. Fitted
> > dresses look reasonably good on most women, but they achieve a
particular
> > ideal shape only on certain figure types -- which were immortalized in
> > zillions of manuscript paintings even though the women with such perfect
> > figures would have been no more common than today's supermodels. But
> > that's not what Kat or I are talking about here.
> >
> > As it happens, most re-enactment groups I know have a general assumption
> > of tolerance -- people are welcome to wear the period/style that pleases
> > them, and everyone around them unconsciously makes allowance for
variation
> > in genetic type. But costume people are used to focusing on the
*costume,*
> > and they look for specific things (like fit and workmanship and
> > fabric/color choice) and are not bothered by necessary allowances for
> > physical differences. When I lecture to academics who are *not* used to
> > seeing modern people in medieval costume -- but who *are* used to seeing
> > images from the period -- I find that they'll immediately focus on the
> > differences from what they're used to seeing. It's not that they're
trying
> > to find fault or to be nitpicky, but that they'll automatically compare
> > the overall visual sense of the model to the overall visual sense of the
> > period and recognize that something's wrong or different. Often they
can't
> > put their finger on it, so they'll assume it's something about the
costume
> > itself, and it will look to them like someone is play-acting or doing
> > dress-up (like a child in adult clothing or a man in woman's clothing,
> > though not so extreme). This is not a conscious thought process on their
> > part; they're not saying "You did X wrong," just having a reasonable
> > instinctive reaction of "That doesn't look like the pictures somehow;
> > something's wrong." And so it's harder for them to see the connections
or
> > take the example seriously. For that reason, I don't normally model my
own
> > work for academic audiences; I try to find a model who's close to the
> > genetic type of the culture that would have worn a particular style --
so
> > the visuals will immediately "click" for them, on an instinctive level,
as
> > being a live version of what's preserved in artwork.
> >
> > I should also underscore that visual demonstration of period styles has
> > quite a different purpose from re-enactment, where the goal is for the
> > re-enactor to "get inside" the period individual's clothes and
experience
> > some aspects of living as period people did. Understanding this
difference
> > goes a long way to explaining the gut response of many academic
historians
> > who have never done re-enactment when they observe re-enactors on
display.
> >
> > --Robin
> >
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: EEBO trial for the H-cost list   was  Re: [h-cost] Ms. Penelope
	Chalk, benefactress to the world!
Date: Mon, 3 Nov 2003 08:02:16 -0800
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One thing this list might just consider, is asking for a 30 day trail with
h-cost list as the association.   Proquest does not state any requirements
for official association status but assesses each application on its own
merits and they may be willing to oblige this request.  As the system is set
up for institutions and multiple users anyone interested might be able to
see what resources there are for costumers.

Just a suggestion from someone delighted to have primary references to
depend on now.

Lisa Sinervo
www.thrednedlestrete.com



----- Original Message -----
From: "Fran Grimble" <fran@lavoltapress.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 01, 2003 1:48 PM
Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!


> I am not sure what you are interested in doing.  I was only noting that
> the agreement does bind individual users as well as authorized
> representatives of the library or other institution. (I can't imagine
> the lawyers writing this leaving a big loophole re individual users.)
> It also prohibits forming "collections" of EEBO  materials and
> "distributing" their materials as well as "publishing" them.  Anyway,
> I'm sure you're reading it all.
>
> You still might want to contact them to see what they regard as "fair
> use," among other things because this agreement seems to be at least
> partly according to British law and that differs from American law.
>
> Fran
>
> Lisa Sinervo wrote:
>
> >I am only interested in fair use for research sharing but thanks for your
> >suggestion.
> >
> >Lisa Sinervo
> >www.thrednedlestrete.com
> >
> >----- Original Message -----
> >From: "Fran Grimble" <fran@lavoltapress.com>
> >To: "Historical Costume" <h-costume@indra.com>
> >Sent: Saturday, November 01, 2003 1:12 PM
> >Subject: Re: [h-cost] Ms. Penelope Chalk, benefactress to the world!
> >
> >
> >
> >
> >>ProQuest's agreement is readily available on the home page of their
> >>website. Here is a link to it:
> >>
> >>http://wwwlib.umi.com/eebo/terms
> >>
> >>If you have any further questions, I'd suggest contacting ProQuest. I am
> >>sure they can explain how their agreement applies to you. And give you
> >>any permissionsthey wish to give that are legally necessary.  There is
> >>no need to remain in the dark about what another party's rights are, or
> >>what they would give you permision to do, when you can easily ask them.
> >>
> >>Fran
> >>
> >>Lisa Sinervo wrote:
> >>
> >>
> >>
> >>>I had a proquest trial through a living history society I'm associated
> >>>
> >>>
> >with.
> >
> >
> >>>I suspect the first person who logs on to the proquest trial has an
> >>>agreement they must adhere to which said books were not to be
republished
> >>>and were for research only or something similar.
> >>>
> >>>
> >>>
> >><snip>
> >>
> >>
> >>
> >>>What I attempted to say when I first started this thread, was that I
did
> >>>have access to the EEBO and downloaded quite a number of books that
might
> >>>
> >>>
> >be
> >
> >
> >>>of interest to those on this list and while the licensing agreement
> >>>prohibits me from republishing them, so they won't  be appearing on my
> >>>website, if any of you folks are researching something and are looking
> >>>
> >>>
> >for a
> >
> >
> >>>reference, please do contact me as I now have around 1400 books from
the
> >>>16th and 17th centuries and may be able to assist you.
> >>>
> >>>Cheers,
> >>>
> >>>Lisa Sinervo
> >>>www.thrednedlestrete.com
> >>>
> >>>
> >>>
> >>>
> >>>----- Original Message -----
> >>>From: "Wanda Pease" <wandap@hevanet.com>
> >>>To: "Historical Costume" <h-costume@indra.com>
> >>>Sent: Saturday, November 01, 2003 9:54 AM
> >>>Subject: [h-cost] Ms. Penelope Chalk, benefactress to the world!
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>
> >>>>Lisa, I don't know how I managed to miss this message in the
continuing
> >>>>
> >>>>
> >>>>
> >>>>
> >>>saga
> >>>
> >>>
> >>>
> >>>
> >>>>of Ms. Penelope Chalk, entrepreneur extraordinaire!  I must admit that
I
> >>>>doubt that she would even make her investment back in CD's since there
> >>>>aren't many of us out there willing to pay money for "dusty old
history"
> >>>>
> >>>>
> >>>>
> >>>>
> >>>but
> >>>
> >>>
> >>>
> >>>
> >>>>it's a great thought.
> >>>>
> >>>>I just found out that one of my local University Libraries just got an
> >>>>
> >>>>
> >>>>
> >>>>
> >>>EEBO
> >>>
> >>>
> >>>
> >>>
> >>>>subscription.  Can't access from home though.
> >>>>
> >>>>Were you asked to sign a copyright agreement?  I wasn't.
> >>>>
> >>>>Regina/Wanda
> >>>>
> >>>>
> >>>>
> >>>>
> >>>>
> >>>
> >>>_______________________________________________
> >>>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
> >>
> >>
> >>_______________________________________________
> >>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
> >
> >
> >
> >
>
> --
> 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 h-costume-bounces@indra.com  Mon Nov  3 13:09:15 2003
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To: Historical Costume <h-costume@indra.com>
Date: Mon, 03 Nov 2003 10:08:12 -0800
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Status: RO


> Heh, heh, spot on, my ancestors are peasants all the way back :-) I
> guess it's like any other style when I look at it and think 'I am so
> not suited for that'.

This really has nothing to do with class or if you can wear it for 
fun. It has to do with some genetic makeups not conforming to the 
ideals of the period. You won't look like a Burgundian lady in a 
hennin if your genetic makeup gives you different facial features 
than someone from that place would have had. (Perhaps this is why 
some areas "produced" certain types of styles and others didn't. 
Seems to me that Robin and I were talking about that when we started 
comparing hairlines as I helped her get dressed. [Finally remembered 
where I had had the discussion.])

> I wouldn't have been suited for it x number of
> years ago either, but I would still have been trying to wear it
> (chances are). Still I have to say I'm rather less inclined to have a
> go at those styles I wouldn't look like the appropriate ideal in. Not
> only for the sake of my own vanity, but also from a desire to not
> misrepresent that period by looking wrong. But I guess that's flawed
> logic in that I am not really misrepresenting it, just looking like
> someone who is my height/shape/colouring would in that style. Am I
> going round in circles yet?

Makes sense. 

However, if you are just wearing it for the fun of it, I see nothing 
wrong with it, even if you can't conform yourself into their ideal 
image.

Regarding traction alopecia:
> A sort of 'which came first, the baldness or the hennin?' 

I don't think we'll ever know for sure how it started. However, I 
suspect that one of the reasons for the changes to a more and more 
extreme look is that form followed function.

> Maybe one could train oneself into a hennin style by wearing tight
> pigtails mundanely. If you have the sort of hair that cooperates with
> that sort of thing anyway.

It depends on your genetics. Not everyone who has their hair pulled 
back ("in traction") gets traction alopecia. From what I've noticed, 
people who start out with low foreheads end up with it less than 
those who start out with higher foreheads to begin with.

>And, as I said before, if you don't mind
> showing up in a modern context with odd hair. I guess a modern
> hairline in a hennin might be one of those anachronisms we might just
> have to put up with (in ourselves as well as in others). 

Exactly.

It all depends on context. Frankly, if I were doing something like 
this to exactly reproduce a piece (for a "living history documentary" 
or something of that sort), I'd choose people who looked like they 
would have existed in that time/place if at all possible. I'd match 
those who looked like they belonged in a different time/place to 
those pieces.

However, if I'm doing it because I want to feel what it's like to 
wear this sort of thing (a "learn by doing" situation), it doesn't 
matter how the person looked originally I'd still put anyone in that 
piece.

And I'm not going to cavil at someone who "ought" to be wearing, for 
example, Samurai clothing who chooses to wear Western European 
clothing if both are allowed by the venue.

>From all
> this rambling you may or may not have worked out that this is one of
> those historical styles that I think is rather lovely and elegant, but
> have so far avoided doing because I would just look wrong in it. 

Nothing wrong with that. I feel that way about German. I like reading 
about it. I like seeing other people doing it (and will help them as 
much as I can to do so if that's what they wish, although I often 
refer them to someone else such as Kat Barich). However, I'm not 
going to do one myself. I'd be much better off in a Burgundian with a 
hennin!

Kat
<kat@redtrollforge.com>


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regarding the importance of "assume the judges know nothing":
>  If she hadn't told me,
> specifically, why she'd hemmed her gown the way she had, I would have
> said "oh, sloppy job", and marked her down, all from *my* ignorance.
> --sue, always willing to learn more

Exactly. A judge who isn't given appropriate documentation for a 
technique has to go by what they already know. They don't have any 
other reference points if you don't give it to them.

But you do have to make sure that you are using a good source. "Aunt 
Mary's Sewing Book" written in 1969 isn't going to convince any judge 
who's looking at a 1580 English gown.

(The caveat to that, however, is that a judge with a closed mind 
won't listen no matter how good your sources. But that's the random 
factor Arlys spoke of. You don't have any control over it but have to 
accept it and move on. Don't let it stop you from doing what is 
appropriate for good judges.)

Kat
<kat@redtrollforge.com>


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> There's also the issue of age-appropriate dress, which is another
> stumbling block.  (Do your lectures touch on this, Robin?)  Some
> medieval outfits are clearly for the young men and women, while their
> elders dressed more conservatively, but often we ingnore that in
> re-creations, resulting in the equivalent of senior citizens in
> Britney Spears outfits.

>From what I've read, this is something that an idea as old as dirt: 
"Mutton dressed up as Lamb" as one phrase puts it.
 
> Could also have been the distance between the people; personal space
> is one of those things that Americans seem to have a lot more of than
> other national groups.

Amen to that. As it has gotten more difficult for me to hear I've had 
"self-wars" between my need for personal space and my wish to hear 
what is being said. I give up when it's someone I'm not completely 
comfortable being close to, whereas I'll pull up closer to someone I 
know better. (And even then, I tend to turn my head so that my ear is 
closer but the rest of me is not.)

Some national groups want to be practically nose to nose with you, 
while others want even more distance than an American would want. 
Even within the US there are marked regional differences in this.

Kat
<kat@redtrollforge.com>


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Hey folks...  weird question...

         Has anyone ever had a judge not read their documentation?  Or not 
in depth?
         It's happened to me a couple of times - where I have received 
commentary or questions on a facet of a garment - When actually the 
explaination or proof for the detail was included in the documentation.

         I think it is mainly a factor of insufficient time allowed to the 
judges.
         Insights?  Ideas?   Please tell me I'm not the only one   ;  >
         Bridgette



Mari Stewart
Cornell University


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Subject: Re: [h-cost] Fw: Delurking with fabric question
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>
> Why only reed boning? I know whalebone is not available anymore, but I also
> know reeds were not the only alternative.

Actually, in all my research & investigation of 16th century inventories,
accounts, and writings, I have only ever heard five materials mentioned
when it comes to stiffening corsets & bodies: buckeram, bent, whalebone,
iron and horn.

Horn was mentioned as a busk, rather than a boning material. The mention
of iron bodies is an open ended debate; I've seen one quote mentioning it,
and a couple of iron "corsets" which could be anything from true corsets
to orthopaedic devices, to dress forms, to theatrical apparrel, to shop
signs, for all we know.

Buckram would be used as a construction material or
interlining to help stiffen the garment, rather than as a separate boning
material. Extra layers of canvas were also used for stiffening, and
ostensibly padded & quilted bodices (padded with horsehair, wool batting
or cotton batting) would be another way to stiffen bodices for support.

Which leaves the well-known whalebone, and bent, which was a small reed
grass of the agrostis family. In tailors' bills and wardrobe accounts of
the 16th century, bent is far and away the most common material used to
stiffen bodices, farthingale sleeves, stomachers, farthingales, etc. It
is replaced to some extent by whalebone in written references of the
1580s and later, but the two extant 17th century stomachers we have, both
of which were cut down from corsets, used bundles of bent for stiffening.
Each reed was 1 to 1.5 mm in diameter.

I have seen reproduction corsets stiffened with rope, used for Italian &
German gowns that have a rounder silhouette. Rope corsets are very
comfortable and give a lovely soft line that doesn't wrinkle under the
bust, but I have never seen a reference to rope used for stiffening
corsets, as much as I've wished to find one.

So, unless you're willing to substitute artificial whalebone for the real
thing, bent is the most authentic and documented fabric you're going to
find.

> > The fabric used for corsets/underpinnings was linen or a linen/cotton
> called Fustian.  Correct?

Fustian (cotton/linen twill) and canvas were both used as interlinings and
lining for corsets. sarcanet (a light silk) was sometimes mentioned as an
inner lining, and satin & taffeta were commonly used to cover corsets by
those who could afford it.

Good luck with your project,

Drea ("I Brake for Boning") Leed

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From: "Megan M." <megan@benchite.com>
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Subject: RE: [h-cost] Facial and body types & costume (was: hair)
Date: Mon, 3 Nov 2003 13:39:41 -0500
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following this thread, I was wondering what a good way to tell what
styles/centuries one might look the best in, since I haven't develped the
"eye" to see this yet?  I've been gravitating towards Scandinavian, since my
major event is Pennsic and I need camp clothing, but for my "better" wear
I'd like to look really good.  What physical characteristics go with which
areas/times?
-Megan

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From: kat@grendal.rain.com
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>          Has anyone ever had a judge not read their documentation?  Or
>          not 
> in depth?

As a costume contest judge I can tell you that it's impossible in the 
time given to completely read someone's documentation *unless* they 
have it organized properly. 

All of the competitions I've judged have the person telling us about 
their costume and we only moments *while they are talking* to read 
the docs. I've talked to judges where all they have is the outfit on 
a dummy in front of them (rather than on a human even) without any 
explanations from the person who made it, and they have to completely 
look over the garments and read the docs in less than 15 minutes.

It's one of the reasons why everyone who has given suggestions so far 
has made it a point to tell you to be organized and readable.

Often times presenters have book sized docs with the important 
information buried in flowery text. That's why it's so important to 
be succinct but have footnotes directing them to the full explanation 
in the appendix. They really only have time to read the "synopsis" 
and will only go for the "fine points" in the appendix if they a) 
have time or b) feel that the point is questionable and need to see 
why they think a certain way.

So, I'm sure that you aren't the only one who's had a judge not read 
the documentation in depth.

Kat
<kat@redtrollforge.com>


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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fw: Delurking with fabric question
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>
> So, unless you're willing to substitute artificial whalebone for the real
> thing, bent is the most authentic and documented fabric you're going to
> find.

Doh...that would be "most authentic & documented boning material."

Coffee time,

Drea

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From: Tasha McGann <demontsegur@yahoo.com>
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Bridgette wrote:

> That said - there are things that good documentation
> has in common.
> -  A use of primary resources

This is a pet topic of mine, if you don't mind
indulging me for a moment. The definition of "primary
resource" as used for this discussion could probably
stand to be clarified. Cynthia Virtue is on this list,
and I hope she won't mind when I recommend her essay
on the kinds of sources clothing enthusiasts use and
how to define them as primary, secondary, tertiary,
and much more importantly, as "good" and "bad"
sources.

http://www.virtue.to/articles/sources.html

The upshot is that unless you yourself have examined
an article of clothing in person, it's not really a
primary source for your purposes. Photos of such
things, and writings about such things, are secondary
sources -- excellent sources, nonetheless. There is no
shame in having all secondary sources on your Works
Cited list. It's darn near impossible to be fortunate
enough to list a real primary source. 

Another confusion on the subject is that of paintings.
Perhaps you have, in person, examined a painting which
depicts clothing in great detail. That painting is a
primary source for the subject of painting, but not
for clothing. It's probably an excellent secondary
source for clothing, but in the end, the clothing
itself is being filtered through another medium -- the
artist's mind and hand.

I think it's important to correctly identify the type
of sources you use and to know whether it is a source
with integrity or with questionable integrity. I have
noticed that folks (probably inadvertently) rename
secondary sources as "primary", and it really is
misleading. I sense it is done out of some sense that
having secondary sources isn't really respectable in
documentation. It's almost impossible, though, for
something to be a true primary source by its clearest
definition, for clothing research -- unless you have
seen/handled the original garment yourself.

-Tasha

=====
***Updated as of November 1, 2003: Aumônière-mania!***
http://www.cottesimple.com
An exploration of European clothing and accessories from the late 14th/early 15th centuries.

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Megan asked:
> following this thread, I was wondering what a good way to tell what
> styles/centuries one might look the best in, since I haven't develped the
> "eye" to see this yet?  I've been gravitating towards Scandinavian, since my
> major event is Pennsic and I need camp clothing, but for my "better" wear
> I'd like to look really good.  What physical characteristics go with which
> areas/times?

It would be really hard for us to explain the looks for every possible
period... so why don't we narrow it down by getting you to tell us what
you look like - height, weight, hair colour and curliness, skin colour,
eye colour, body shape (hourglass, pear, etc), facial shape (round,
elfin, etc), and so on.  If you know where your ancestors came from,
mention that too.  Then we can see if we can think of anything that
matches.

K.

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
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One way to figure this out is to try on a variety of headwear, and see
which ones make you look most "like a picture."

I know some people who have found "doubles" in portraits, tapestries and
other period artwork. I've seen a couple myself--it's positively eerie.

A more roundabout way to achieve a period look is to choose a style that
the person looks good in, i.e., a style which
emphasizes their better features and hides their less flattering ones.
When someone is in clothing that fits and flatters them they tend to be
more comfortable and move more naturally in it, which enhances the
authentic effect and makes it seem more clothing than costume.

Drea

On Mon, 3 Nov 2003, Megan M. wrote:

> following this thread, I was wondering what a good way to tell what
> styles/centuries one might look the best in, since I haven't develped the
> "eye" to see this yet?  I've been gravitating towards Scandinavian, since my
> major event is Pennsic and I need camp clothing, but for my "better" wear
> I'd like to look really good.  What physical characteristics go with which
> areas/times?
> -Megan
>
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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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I wonder, has any research been done on the nature and area of medieval
and renaissance personal space?

Drea

On Mon, 3 Nov 2003 kat@grendal.rain.com wrote:

>
> > There's also the issue of age-appropriate dress, which is another
> > stumbling block.  (Do your lectures touch on this, Robin?)  Some
> > medieval outfits are clearly for the young men and women, while their
> > elders dressed more conservatively, but often we ingnore that in
> > re-creations, resulting in the equivalent of senior citizens in
> > Britney Spears outfits.
>
> >From what I've read, this is something that an idea as old as dirt:
> "Mutton dressed up as Lamb" as one phrase puts it.
>
> > Could also have been the distance between the people; personal space
> > is one of those things that Americans seem to have a lot more of than
> > other national groups.
>
> Amen to that. As it has gotten more difficult for me to hear I've had
> "self-wars" between my need for personal space and my wish to hear
> what is being said. I give up when it's someone I'm not completely
> comfortable being close to, whereas I'll pull up closer to someone I
> know better. (And even then, I tend to turn my head so that my ear is
> closer but the rest of me is not.)
>
> Some national groups want to be practically nose to nose with you,
> while others want even more distance than an American would want.
> Even within the US there are marked regional differences in this.
>
> Kat
> <kat@redtrollforge.com>
>
>
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Megan M. wrote:
> following this thread, I was wondering what a good way to tell what
> styles/centuries one might look the best in, since I haven't develped the
> "eye" to see this yet?

This is fairly easy.  Look for pictures that look like you!  Only you 
can do this.  Or maybe you can con your sibling or sweetie into helping 
thumb through art books.

cv

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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----- Original Message ----- 
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 03, 2003 1:57 PM
Subject: Re: [h-cost] Facial and body types & costume (was: hair)


>
> It would be really hard for us to explain the looks for every possible
> period... so why don't we narrow it down by getting you to tell us what
> you look like - height, weight, hair colour and curliness, skin colour,
> eye colour, body shape (hourglass, pear, etc), facial shape (round,
> elfin, etc), and so on.  If you know where your ancestors came from,
> mention that too.  Then we can see if we can think of anything that
> matches.
>
> K.

What a fun idea! Can I play?

I'm 5'0, about 140 pounds, hourglass shape. Long, straight dark hair (very
fine and slippery but fairly thick), round face, dark eyes, olive skin.
Ancestry is English/Welsh/Norwegian.

I  love Tudor, and I know how to walk in a farthingale!

Dianne

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Subject: [h-cost] Black Diamonds
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Wow, It's amazing how far behind you can get in a weekend!

On the subject of Diamonds, I'm not very well versed in gemology or their exact cuts and usages.
I know that the Ruby was valued more than any other stone of the period (Hackenbrock)
Cutting techniques in Italy were of a better and more detailed quality than those of anywhere else in Europe (Due to the Indian influence). They still, however, weren't cut like today's, and the settings were foiled in the back to help reflect some of the light. 

Another thing to remember that they were also using glass paste to create "gems". 
There's a great example of one in one of the books I've been reading, but I don't have my sources at work. 

I'm really not as knowledgeable on the topic as I would like to be, but I've been doing lots of research lately. Now if I could find some sources for handknotting pearls and when that became fashionable, I'll be happy. 

Tori



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K replied:

so why don't we narrow it down by getting you to tell us what
you look like - height, weight, hair colour and curliness, skin colour,
eye colour, body shape (hourglass, pear, etc), facial shape (round,
elfin, etc), and so on.  If you know where your ancestors came from,
mention that too.  Then we can see if we can think of anything that
matches.

Here is a picture taken of me and my stepdaughter last December before I cut
my hair off:
http://benchite.com/megan/benchite%20website/2002_1226_MeganEmily.jpg

I am: blonde hair, fairly straight (used to be light, straight, wispy, but
as I got older it got more body and a bit of wave at the bottom).  Face:
oval with high cheekbones, fair complexion to slightly ruddy (I usually use
the lightest shade of foundation available in any given line, or close to
it). Blue eyes.  Wide, square shoulders, tend to muscular arms, large
busted, short waisted (back waist lenght about 15.5 inches on a 5'6"
person), long legged.  Little differentiation between bust, waist, hips
(thick waisted).  I carry my weight in the trunk, not hips/thighs, although
my waist is smaller than the bust and hips.  My ancestors are predominantly
Polish/Prussian/Luthuanian on my mother's side, and my father is half
Czechoslovakian and half Scotch-Irish. Or, as I like to say, enough Irish to
get the name, and the rest is most of eastern Europe. Oh yeah, I'm 40, so I
don't need the Britney Spears version of anything. I usually wear about a
size 18 these days, US version.
-Megan

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
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I think early 16th c. German would suit you to a tee--your face is spot
on. several styles were rather short-waisted and wide necked, and would
accentuate your bust and show off your wide shoulders. Since you're not
over-busty, the style would be easy to fit and would give you a look just
like that in the pictures. The full skirts would create
a larger waist-hip differential and make your waist look a bit smaller,
as well. I can just see you in a tall German haube & kerchief!

You would also look smashing in Flemish peasant & german (Brueghel)
peasant dress.

If you wanted to go earlier period, Viking dress would suit your
face and form as well--since you're mostly vertical and have broad
shoulders, the tunics and chitons would drape very gracefully. You'd also
have a chance to show of your lovely blond hair.

Drea

On Mon, 3 Nov 2003, Megan M. wrote:

> K replied:
>
> so why don't we narrow it down by getting you to tell us what
> you look like - height, weight, hair colour and curliness, skin colour,
> eye colour, body shape (hourglass, pear, etc), facial shape (round,
> elfin, etc), and so on.  If you know where your ancestors came from,
> mention that too.  Then we can see if we can think of anything that
> matches.
>
> Here is a picture taken of me and my stepdaughter last December before I cut
> my hair off:
> http://benchite.com/megan/benchite%20website/2002_1226_MeganEmily.jpg
>
> I am: blonde hair, fairly straight (used to be light, straight, wispy, but
> as I got older it got more body and a bit of wave at the bottom).  Face:
> oval with high cheekbones, fair complexion to slightly ruddy (I usually use
> the lightest shade of foundation available in any given line, or close to
> it). Blue eyes.  Wide, square shoulders, tend to muscular arms, large
> busted, short waisted (back waist lenght about 15.5 inches on a 5'6"
> person), long legged.  Little differentiation between bust, waist, hips
> (thick waisted).  I carry my weight in the trunk, not hips/thighs, although
> my waist is smaller than the bust and hips.  My ancestors are predominantly
> Polish/Prussian/Luthuanian on my mother's side, and my father is half
> Czechoslovakian and half Scotch-Irish. Or, as I like to say, enough Irish to
> get the name, and the rest is most of eastern Europe. Oh yeah, I'm 40, so I
> don't need the Britney Spears version of anything. I usually wear about a
> size 18 these days, US version.
> -Megan
>
> _______________________________________________
> 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] hair
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Cynthia Virtue wrote:

 > In addition to this, if you're blonde, the
> hair won't show much.  And, even if painted in, it might not show in 
> reproductions.  This painting
> http://www.virtue.to/articles/images/1460_lady_weyden.jpg
> 
> I have seen in person, and she's got blonde hair in a 
> not-desperately-high hairline, but it doesn't show up in the copies I 
> have seen.

I think this is one of the images I was looking at while wondering if 
the hair really was plucked. Her hairline is about the same as mine. 
Maybe I just have a naturally high forehead and shouldn't use myself as 
a comparison model. :)

The difference I notice is that she has no hair on her temples, right in 
front of the ear. Or maybe it is so fine and the reproduction poor 
enough that it doesn't show. I have a huge amount of hair there, and to 
see someone without it just looks odd -- to me.



Dawn


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This is a hobby of mine - I look at people and try to think about what
period I would like to see them in - that they would look good in.  Not
just historicals, but characters too.

I have a tall thin male friend who has very "nervous hands" - always in
motion and slightly twitchy.  I would LOVE to see him dress as Dr. Henry
Jeckyll. 

And I know another slender woman who is always complaining about her lack
of cleavage but she has fabulous legs.  Hello 1920s Flapper outfits - she
even looks good in hats!

My well-padded broad-shouldered frame, short but extremely long-waisted,
looks well in Elizabethan where the farthingale can balance out my broad
upper body.  However, it's a complete loss in most Victorian - that lovely
sloping shoulder line doesn't happen on me.  And anything with ruffles
makes me look like a parade float!  

Just look at yourself, decide what parts you want to show off, and find an
era/area where that was considered fashionable.

Wendy Zdrodowski
Chicago, IL
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>From: Cynthia Virtue <cvirtue+dated+1083429418.fba496@thibault.org>
>Could also have been the distance between the people; personal space is
>one of those things that Americans seem to have a lot more of than other
>national groups.

Don't forget posture.

Marc

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>From: Kirrily Robert <skud@infotrope.net>
>It would be really hard for us to explain the looks for every possible
>period... so why don't we narrow it down by getting you to tell us what
>you look like - height, weight, hair colour and curliness, skin colour,
>eye colour, body shape (hourglass, pear, etc), facial shape (round,
>elfin, etc), and so on.  If you know where your ancestors came from,
>mention that too.  Then we can see if we can think of anything that
>matches.

My ancestors are Scots and Swedes, and I'm built like a barrel - even 
discounting the tubbiness :)

Marc

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: hair/americans
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Marc Carlson wrote:
>> Could also have been the distance between the people; personal space is
>> one of those things that Americans seem to have a lot more of than other
>> national groups.
> Don't forget posture.

Oh, yeah, and all those "body language" things.  I recently saw on a 
travel show, a 20s something american guy interviewing a group of guys 
the same age in India.  They were shoulder-to-shoulder, arms around each 
other, leaning on each other.  It was so different!  And yet they said 
they'd never touch a girl unless they were married to her, and then, not 
in public.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] question ?
Date: Mon, 3 Nov 2003 15:46:06 -0500
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Mari wrote:
<<Has anyone ever had a judge not read their documentation?  Or not in
depth?>>

I've had this problem many times.  As others have mentioned, it's
impossible for someone under the time constraints to read your
documentation as well as it needs to be.

My solution is to write a one-paragraph abstract or summary on the first
page.  This paragraph used the least amount of words to describe the
entry in a moment's glace.  For example:

"The Carnamoyle stockings are an extant pair of knitted wool stockings
from County Donegal that are roughly contemporary with the Shinrone
gown, of which I have made a replica.  I handspun worsted yarn in a
clockwise direction (Z-twist) on a wooden drop spindle and knit the
stockings in the round on five #3 wooden needles."

The rest of the documentation went into the history if knitted stockings
in Ireland, how I solved the problem of gauge, and what heel treatment I
chose and why (the stockings are fragmentary from the ankles down).  But
someone who only had time to read this blurb knew everything they needed
to know.

Kass

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Date: Mon, 3 Nov 2003 19:34:44 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] hair/hennin
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Cynthia Virtue <cvirtue+dated+1083364260.987bd8@thibault.org> wrote
>Jean Waddie wrote:
>> How is her hennin constructed?  I've heard a lot of theories, but I 
>>didn't think there was enough evidence to confirm any of them.  How 
>>does  it stay on?
>
>I have a truncated-cone/butterfly style which has a basketwork core 
>structure.  It's springy yet holds its shape.  I managed to wear away 
>some of my hair wearing it one afternoon.  I have since corrected the 
>problems that lead to the, er, friction allopecia, and it stays on by a 
>more gentle friction on my head, plus a steel hatpin through a tight bun.
>
>At present, I believe the state-of-the-art theories are all conjecture. 
>I'd love to hear otherwise!
>

Yippee!  You're the first person I've met using a hatpin and a bun, 
which has always been my favourite theory.

When I left my last job, one of my colleagues made me a big cardboard 
hennin - they presented it to me upside-down, filled with chocolates! - 
and for a dare I wore it all one day at work.  I put my hair in a 
coronet of braids and used plenty kirby-grips, and it stayed pretty 
well, but I wouldn't have fancied it with just straight pins.  And it 
wouldn't support the weight of a floor-length veil, even in a very sheer 
polyester.
-- 
Jean Waddie
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Date: Mon, 3 Nov 2003 17:06:58 -0600 (CST)
From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Primary? Secondary? (was: On the Subject of Documentation)
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On Mon, 3 Nov 2003, Tasha McGann wrote:

> The upshot is that unless you yourself have examined an article of
> clothing in person, it's not really a primary source for your
> purposes. Photos of such things, and writings about such things, are
> secondary sources -- excellent sources, nonetheless. There is no shame
> in having all secondary sources on your Works Cited list. It's darn
> near impossible to be fortunate enough to list a real primary source.
> 
> Another confusion on the subject is that of paintings. Perhaps you
> have, in person, examined a painting which depicts clothing in great
> detail. That painting is a primary source for the subject of painting,
> but not for clothing. It's probably an excellent secondary source for
> clothing, but in the end, the clothing itself is being filtered
> through another medium -- the artist's mind and hand.

<and more snipped>

Someone asked me about this distinction at KWCS a few weeks ago, and what
I told her was this: I have heard this particular sort of distinction
between primary and secondary and tertiary ONLY from re-enactors
(particularly SCA people). I have never heard it used in this way by
academic historians. And I suspect that if you said to a professional
historian that a painting from the 15th century is *not* a primary source
for dress of the 15th century, you would get a look of stark amazement,
because your listener would conclude you have no idea what the terms mean.
And that would go double if you said that when you're working from a photo
of the painting, that makes it a tertiary source.

I just looked over Cynthia's article, which includes this helpful link to
some historians' definitions of primary sources:

http://www.library.yale.edu/ref/err/primdefs.htm

What's important to see from these definitions is that the distinction
between "primary" and "secondary" is *not* the degree of separation from
the object of study, but rather the degree of separation from personal
experience of the thing under study. An artist in 15th century Flanders
has seen (and worn!) clothing of his own place and period, and his
paintings are a primary source for a modern scholar's work in dress
history of that period/place, as far as historians are concerned. The fact
that the image is filtered through the artist's mind and hand does not
change the primary-ness of the source, though it does add an interpretive
layer that we need to take into account as we analyze and apply the
source.

On the other hand, a chronicler of the 15th century is a primary source
for events of his own time, but if he recounts a battle of the 12th
century based on a selection of other chronicles he's read about it,
that's a secondary source -- just as if a modern author writes about the
same battle based on earlier reports.

There's no question that degree of removal in personal experience, even
for someone of the same period, changes the *reliability* or
*applicability* of a source. A painting is not a piece of clothing. A
written description or an inventory reference is not a piece of clothing.
But if they're from the same time and place, painted or written by people
who saw that clothing, they're still primary sources. So, because a poet
in 14th century England has experienced clothing of *that* time and place,
his poems are primary sources for our study of it, even though his
personal opinions or literary objectives may influence his description.
The rhetorical choices made by the 14th century author can actually be a
*useful* factor in research as long as you understand how to use it -- it
can tell us something about what the people of the time valued or
perceived about clothing. In other words, each type of primary source (be
it image, text, or even artifact) presents its own limitations or issues
that the historian needs to take into account, and the historian needs to
seek to balance or compensate for these limitations with an understanding
of the context and the wise use of other types of primary sources.

But the whole idea of using "primary" and "secondary" to distinguish
degrees of removal from the artifact, for sources still within the same
time-place context, just leaves me scratching my head. This redefinition
of terminology seems to have become pervasive in SCA circles among people
who really, truly want to promote good use of sources. In addition to
Cynthia's article and Tasha's post, I see the same thing on Kass's site at
http://www.reconstructinghistory.com/beginners/research.html , under
"Types of Sources." All three of these ladies known for doing good
research, and all three seem to have picked up this same set of new
distinctions, so clearly these ideas are getting a lot of play out there
in re-enactment circles. I can only guess that this originated in a
good-faith attempt to teach people to find and use the best sources, and
somehow developed into a far-too-literal use of the conventional terms.

Cynthia acknowledges some of this difference in definitions in the last
two paragraphs of her article at
http://www.virtue.to/articles/sources.html . But I still don't know where
the stricter definitions came from.

I would be very interested in hearing from some of the other people on the
list who work in academic areas. I won't rule out that maybe there's been
some huge terminology change that I've somehow missed in the years that
I've been active in the field.

It's also possible that these definitions are specific to the field of
material culture. Material culture research poses some different issues
for historical study compared with the "conventional" study of history,
where the definitions of "primary" and "secondary" sources originated.  
And perhaps material culture needs a new set of terms to cover some of
these distinctions that are not so vital for people who are studying, say,
events. (You can't put your hands on an extant event -- so your primary
sources are going to be mostly text and images.) 

Even so, I think that the literalmindedness that is leading some people to
say that only the artifact is "primary"  threatens to reinforce the
tunnelvision I see in some people who do reenactment-based research, who
focus strictly on "how is this thing made" without ever becoming aware of
such issues as "in what social context would it have been worn," or "what
messages would wearing this item have sent to people of the time," or
"what are the economic factors involved in the choice of techniques and
materials." These are all vital questions that won't be solved just by
examination of an artifact; they require use of other primary -- yes,
primary -- sources from the period, including text and images and other
types of archaeological evidence. All those pieces of information are
necessary to create a complete context for "history of dress," and
"history of dress" covers a darn sight more than "how was it made."

--Robin




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All this reminds me of one of the best compliments I ever recieved.  I was
showing someone at work various pictures from Celtic festivals and Ren
Faires I had been to.  So they saw me in a range of outfits from great kilt,
viking pants and t-tunic, to fitted Italian style doublet.  The person
remarked "You know what?  You have the perfect face and hair for this.  No
matter which outfit you are in, you look like that's what you should be
wearing."  After years of being teased in high school for having long hair
and glasses (typical nerd) I was shocked.

Bjorn Arnaldsson
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Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
	Documentation)
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I'd love to have more feedback on this issue.

When I wrote the article, I was all in a lather because people writing 
to me from the Midrealm of the SCA (middle northern USA plains) said 
their A&S people had decreed that only primary documentation was 
acceptable, and defined it as a painting or similar from the time period 
in question.

So I was trying to make two points:

1: You lose information in a painting, so it's not primary for clothing, 
compared with handling the clothes yourself, the which idea I checked 
with a couple of scholars that I knew, but that of course doesn't 
guarantee the result.

2: It's silly to define your acceptable sources this way, it's better to 
judge on their suitability overall.

Constructive critism is very, very welcome.

cv
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Subject: Re: [h-cost] hair
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Hi everyone.

> Regarding traction alopecia:
> > A sort of 'which came first, the baldness or the hennin?' 


Kat writes:
 
> I don't think we'll ever know for sure how it started. However, I 
> suspect that one of the reasons for the changes to a more and more 
> extreme look is that form followed function.

I'd heard that the hennin style may have been a fashion result of the
Plague--many of those who survived suffered hair loss. Is this a medieval
urban myth?

One of these days I promise to let Regina talk me into dressing medieval
German. My genetic heritage really shows, but I so love English
history..... ;)

Arlys

 


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Subject: Re: [h-cost] question ?
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On Mon, 03 Nov 2003 13:31:27 -0500 M Stewart <ms154@cornell.edu> writes:
> 
> Hey folks...  weird question...
> 
>          Has anyone ever had a judge not read their documentation?  
> Or not in depth?

It hasn't happened to me personally, but I have heard from fellow
competitors of judges who were being flat stupid. A friend who is a
potter and lived in a tiny apartment and *of course* used a modern kiln
as it was what she had access to in a nearby clay studio was summarily
asked/snarked at as to why she *didn't* have her own home kiln even
though my friend made the point very clearly verbally and in her docs
(cost, fire codes(!!!), and space).

>          It's happened to me a couple of times - where I have 
> received commentary or questions on a facet of a garment - When
actually the 
> explaination or proof for the detail was included in the 
> documentation.

Part of presenting, IMHO, is to bring out those key points, to call the
judge's attention to those areas, and/or to areas they may have
overlooked.
> 
>          I think it is mainly a factor of insufficient time allowed 
> to the judges.
>          Insights?  Ideas?   Please tell me I'm not the only one   ; 
>  >
>          Bridgette

 You're not. Not even close. :) Time can be a huge factor. Some people
prefer to read after oral presentations too.

Arlys


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Subject: Re: [h-cost] Wierd question (was  link: "Accurate
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> There have been many fashionable eyebrow shapes in history.
<huge snip>
> 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.

Well, lucky me, I don't ever touch my brows, so if I'm no more fashionable
for that period as the curent one, at least I won't be jarring on a
photograph!
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] hair
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On Mon, 3 Nov 2003, Cynthia J Ley wrote:

> I'd heard that the hennin style may have been a fashion result of the
> Plague--many of those who survived suffered hair loss. Is this a
> medieval urban myth?

I'd suspect it's an urban myth. I've done several extensive articles on
the medical aspects of plague and never heard of "hair loss" mentioned
specifically. More to the point, plague swept through Europe around 1350
-- about 100 years before the super-high-forehead hennin styles. There
were sporadic, smaller waves of plague for a while afterward, but I'd
expect that if there was a huge hair loss effect, we'd have seen something
of it in the mid-14th century, not the mid-15th. And with men as well as
women...

--Robin

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Subject: Re: [h-cost] LA Garment District
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Kit asks:

>Hey Rima,
>
>Willing to share Vendor names?

Like I KNOW them????   ;-D   I just know where to find them in the 
maze of stores... ;-D

One I DO know for sure:  Fabrics & Fabrics on 9th street (not the 
cheapest, but GREAT quality!) just E of Maple on the N side.
Other one, I couldn't tell you.   It's also on 9th near Kashkool (who 
sometimes has a good selection of dupioni and cotton velvet)  on the 
S side, and the guy in there is "Morty".

The trick is in the bargaining, and in being able to buy enough yardage....

Rima
"Yes, I know, but how much for ME if I buy 20 yards right now?"
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Date: Mon, 3 Nov 2003 14:10:45 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Wierd question (was  link: "Accurate Reproduction 
 Clothing")
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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.

LOL!

My pet peeve is a perfect modern manicure, complete with polish....

Rima
harumph!
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Date: Mon, 3 Nov 2003 14:44:28 -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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>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

Oh sure.   and when I first started wearing all my stuff, I put a lot 
of sleeves in my dinner....  But we learn how to manage our garments 
FAST.

That's one thing I really appreciate in period films.... when the 
actors have had a chance to "inhabit" their clothes.   You can just 
TELL when someone hasn't gotten the feeling that they live in their 
garb.

That's one of my fave things about the Lester 3 and 4 Musketeers from 
the 70's....   everyone is right at home in their clothing.

Rima
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Date: Mon, 3 Nov 2003 14:56:16 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] 16th century prayer books
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>Lisa wrote:
>Have any of you out there researched the area of 16th century Englis prayer
>books?.....  The ones found almost as fashion accessories in portraits.  I'd
>like to obtain a few of the texts commonly used in these books from EEBO and
>make a few prayer books up and I'm not sure which texts were commonly used.
>Psalms I would image, anything else?  Did the contents change after the
>split with Rome?  Any websites you can direct me to?

OK, HURT ME!

About 15 years ago, I was in a very reputable antique book store in 
NY, and actually held in my hand a book of hours that was purported 
to belong to Elizabeth.   They wanted something like $900 for it.

About 4X5 inches, light color leather cover, tooling with remnants of 
gold leaf... in pretty good condition for such an old book. 
Naturally, I didn't dare open it without gloves.......

That was $900 I didn't have in my life at the time, so I was forced 
to put it down (weeping...)

If, in your travels, you come across such a book, LET ME KNOW.   I 
won't make that same mistake again!

Rima
*sniffle*
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Date: Mon, 3 Nov 2003 15:39:02 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Silk at JoAnn's
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>Was just at my local Joann Fabrics and they had a beautiful lightweight
>silk that was stitched in 1 inch squares with pearls sewn in the
>centerin that just off-white color.  I think that's what I'm going to
>use my 50% off coupon for-- at $39.99/yd that's the only way I'm buying
>it.  Now to figure out what to make!.  Since the pearls are most
>certainly fake, I wonder how it will take dye.  Anyone dyed fake pearls
>before?
>Kate

OHMIGOD I'm SURE I can get that for you WAY WAY cheaper.   Are you in a hurry?

Rima
NEVER pay retail!  ;-/
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Date: Mon, 3 Nov 2003 15:50:33 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] off topic - linen for tablecloth
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>I'm looking for some linen or linen-cotton blend that would be a 
>nice weight and hand for a tablecloth and napkin set.  Has anyone 
>purchased any recently that seemed like a good option for this?
>
>thanks!
>
>.heather.

Try these guys:
http://store.yahoo.com/phoenixtextiles/w-054.html
http://store.yahoo.com/phoenixtextiles/w-055.html

Made a dress out of the first.... VERY nice....

Rima
if you don't mind ironing....  ;-D
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Date: Mon, 3 Nov 2003 15:59:43 -0800
Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
	Documentation)
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Status: RO

Greetings all,

I'm taking a history course right now and paintings are not considered 
a primary source as the painter may or may not be giving us an accurate 
depiction of clothing.  Paintings are considered excellent starting 
point, but it is a secondary source.  This is true in relation to the 
doctoral dissertation I'm working on.

best regards,
Althea

On Monday, November 3, 2003, at 03:06 PM, Robin Netherton wrote:

>
> On Mon, 3 Nov 2003, Tasha McGann wrote:
>
>> The upshot is that unless you yourself have examined an article of
>> clothing in person, it's not really a primary source for your
>> purposes. Photos of such things, and writings about such things, are
>> secondary sources -- excellent sources, nonetheless. There is no shame
>> in having all secondary sources on your Works Cited list. It's darn
>> near impossible to be fortunate enough to list a real primary source.
>>
>> Another confusion on the subject is that of paintings. Perhaps you
>> have, in person, examined a painting which depicts clothing in great
>> detail. That painting is a primary source for the subject of painting,
>> but not for clothing. It's probably an excellent secondary source for
>> clothing, but in the end, the clothing itself is being filtered
>> through another medium -- the artist's mind and hand.
>
> <and more snipped>
>
> Someone asked me about this distinction at KWCS a few weeks ago, and 
> what
> I told her was this: I have heard this particular sort of distinction
> between primary and secondary and tertiary ONLY from re-enactors
> (particularly SCA people). I have never heard it used in this way by
> academic historians. And I suspect that if you said to a professional
> historian that a painting from the 15th century is *not* a primary 
> source
> for dress of the 15th century, you would get a look of stark amazement,
> because your listener would conclude you have no idea what the terms 
> mean.
> And that would go double if you said that when you're working from a 
> photo
> of the painting, that makes it a tertiary source.
>
> I just looked over Cynthia's article, which includes this helpful link 
> to
> some historians' definitions of primary sources:
>
> http://www.library.yale.edu/ref/err/primdefs.htm
>
> What's important to see from these definitions is that the distinction
> between "primary" and "secondary" is *not* the degree of separation 
> from
> the object of study, but rather the degree of separation from personal
> experience of the thing under study. An artist in 15th century Flanders
> has seen (and worn!) clothing of his own place and period, and his
> paintings are a primary source for a modern scholar's work in dress
> history of that period/place, as far as historians are concerned. The 
> fact
> that the image is filtered through the artist's mind and hand does not
> change the primary-ness of the source, though it does add an 
> interpretive
> layer that we need to take into account as we analyze and apply the
> source.
>
> On the other hand, a chronicler of the 15th century is a primary source
> for events of his own time, but if he recounts a battle of the 12th
> century based on a selection of other chronicles he's read about it,
> that's a secondary source -- just as if a modern author writes about 
> the
> same battle based on earlier reports.
>
> There's no question that degree of removal in personal experience, even
> for someone of the same period, changes the *reliability* or
> *applicability* of a source. A painting is not a piece of clothing. A
> written description or an inventory reference is not a piece of 
> clothing.
> But if they're from the same time and place, painted or written by 
> people
> who saw that clothing, they're still primary sources. So, because a 
> poet
> in 14th century England has experienced clothing of *that* time and 
> place,
> his poems are primary sources for our study of it, even though his
> personal opinions or literary objectives may influence his description.
> The rhetorical choices made by the 14th century author can actually be 
> a
> *useful* factor in research as long as you understand how to use it -- 
> it
> can tell us something about what the people of the time valued or
> perceived about clothing. In other words, each type of primary source 
> (be
> it image, text, or even artifact) presents its own limitations or 
> issues
> that the historian needs to take into account, and the historian needs 
> to
> seek to balance or compensate for these limitations with an 
> understanding
> of the context and the wise use of other types of primary sources.
>
> But the whole idea of using "primary" and "secondary" to distinguish
> degrees of removal from the artifact, for sources still within the same
> time-place context, just leaves me scratching my head. This 
> redefinition
> of terminology seems to have become pervasive in SCA circles among 
> people
> who really, truly want to promote good use of sources. In addition to
> Cynthia's article and Tasha's post, I see the same thing on Kass's 
> site at
> http://www.reconstructinghistory.com/beginners/research.html , under
> "Types of Sources." All three of these ladies known for doing good
> research, and all three seem to have picked up this same set of new
> distinctions, so clearly these ideas are getting a lot of play out 
> there
> in re-enactment circles. I can only guess that this originated in a
> good-faith attempt to teach people to find and use the best sources, 
> and
> somehow developed into a far-too-literal use of the conventional terms.
>
> Cynthia acknowledges some of this difference in definitions in the last
> two paragraphs of her article at
> http://www.virtue.to/articles/sources.html . But I still don't know 
> where
> the stricter definitions came from.
>
> I would be very interested in hearing from some of the other people on 
> the
> list who work in academic areas. I won't rule out that maybe there's 
> been
> some huge terminology change that I've somehow missed in the years that
> I've been active in the field.
>
> It's also possible that these definitions are specific to the field of
> material culture. Material culture research poses some different issues
> for historical study compared with the "conventional" study of history,
> where the definitions of "primary" and "secondary" sources originated.
> And perhaps material culture needs a new set of terms to cover some of
> these distinctions that are not so vital for people who are studying, 
> say,
> events. (You can't put your hands on an extant event -- so your primary
> sources are going to be mostly text and images.)
>
> Even so, I think that the literalmindedness that is leading some 
> people to
> say that only the artifact is "primary"  threatens to reinforce the
> tunnelvision I see in some people who do reenactment-based research, 
> who
> focus strictly on "how is this thing made" without ever becoming aware 
> of
> such issues as "in what social context would it have been worn," or 
> "what
> messages would wearing this item have sent to people of the time," or
> "what are the economic factors involved in the choice of techniques and
> materials." These are all vital questions that won't be solved just by
> examination of an artifact; they require use of other primary -- yes,
> primary -- sources from the period, including text and images and other
> types of archaeological evidence. All those pieces of information are
> necessary to create a complete context for "history of dress," and
> "history of dress" covers a darn sight more than "how was it made."
>
> --Robin
>
>
>
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Subject: Re: [h-cost] Re:  Wierd question (was  link: "Accurate	Reproduction
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> >....possibly have all the tiny little details right. If they were in
period
> >clothing, I'd expect them to be using only period tools and using those
> >tools exactly in the period way, in a period setting.... I think I'd
prefer
> >someone dressed plainly in modern clothes.
>
> But they will be using only period tools and period techniques.  That's
the
> point of the book :)
>
I understand that. I'm just telling you that, in order for me not to find
this distracting, it would have to be almost perfect. Oh, if you go this
way, please use clothing that doesn't look brand new? It doesn't need to be
torn or dirty, just worn.
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Subject: Re: [h-cost] link: "Accurate Reproduction Clothing"
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Just about every year at Bristol RenFaire, I get to see women who have
seldom/never worn long, full, heavy skirts attempt to learn to move
gracefully in them. The typical early 21st century style of walking,
which looks fine in modern clothes, makes them look like truck drivers in
drag when they put their farthingales and skirts on. This is one reason
we (Guilde of St. George) make them do all their dance rehearsals wearing
at least hoops and corset and preferably as much of their outfit as they
have available to wear so that they will learn to move gracefully in them
and look comfortable doing so. It still takes some ladies most of the
season before management of the skirts becomes second nature.

One thing that I've noticed is that we tend to walk slightly tilted
forward (as if we were walking down a slight incline) which is a recipe
for disaster in a farthingale as it drastically increases your chances of
walking up the front. It looks so much better (and works better too) if
one walks with one's hips tilted slightly forward, spine straight up and
down, with most of the walking motion coming from the knees down rather
than from the hips as we are used to walking.

Karen



On Mon, 3 Nov 2003 14:44:28 -0800 Rima <rima@anet.net> writes:
> Oh sure.   and when I first started wearing all my stuff, I put a 
> lot of sleeves in my dinner....  But we learn how to manage our
garments 
> FAST.
> 
> That's one thing I really appreciate in period films.... when the 
> actors have had a chance to "inhabit" their clothes.   You can just 
> TELL when someone hasn't gotten the feeling that they live in their 
> garb.
> 
> That's one of my fave things about the Lester 3 and 4 Musketeers 
> from the 70's....   everyone is right at home in their clothing.
> 
> Rima
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> 

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Subject: Re: [h-cost] hair
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>Someone has mentioned that some hair might be not painted in because 
>the fashion was for a high forehead (much as I'd like someone 
>painting me to lessen my double chin(s)).

Exactly...... we airbrush and stretch photos now to suit our 
tastes.... I'm QUITE sure that painters were more than happy to 
flatter their subjects.... especially since their subjects were 
usually their patrons!

Rima
PLEASE make me look thinner, and give me a real jawline....
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Dianne wrote:
> I'm 5'0, about 140 pounds, hourglass shape. Long, straight dark hair (very
> fine and slippery but fairly thick), round face, dark eyes, olive skin.
> Ancestry is English/Welsh/Norwegian.

Interesting... with that colouration you could be just about anywhere in
Europe except for the north-western bits which tend towards fair
colouring. I'd say mediterranean based on the colouring, but you don't
tend to see a lot of round faces there.  Perhaps something kind of
central European?  Start at Germany or Northern Italy and work inland.
Your hourglass shape would probably work well for many periods,
especially 19th century, but avoid the Regency period and 1920s!

K.

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Megan wrote:
> Here is a picture taken of me and my stepdaughter last December before I cut
> my hair off:
> http://benchite.com/megan/benchite%20website/2002_1226_MeganEmily.jpg
>
> I am: blonde hair, fairly straight (used to be light, straight, wispy, but
> as I got older it got more body and a bit of wave at the bottom).  Face:
> oval with high cheekbones, fair complexion to slightly ruddy (I usually use
> the lightest shade of foundation available in any given line, or close to
> it). Blue eyes.  Wide, square shoulders, tend to muscular arms, large
> busted, short waisted (back waist lenght about 15.5 inches on a 5'6"
> person), long legged.  Little differentiation between bust, waist, hips
> (thick waisted).  I carry my weight in the trunk, not hips/thighs, although
> my waist is smaller than the bust and hips.  My ancestors are predominantly
> Polish/Prussian/Luthuanian on my mother's side, and my father is half
> Czechoslovakian and half Scotch-Irish. Or, as I like to say, enough Irish to
> get the name, and the rest is most of eastern Europe. Oh yeah, I'm 40, so I
> don't need the Britney Spears version of anything. I usually wear about a
> size 18 these days, US version.

Drea's already given her answer, but I'll give mine as well.  With your
colouring you want something north-west European.  Anything from England
through the low countries, Germany, Scandinavia.

Your short-waistedness says that you should probably go for something
that isn't long-waisted by design, and since you say you're
thick-waisted you probably also want to avoid anything that's aiming for
an hourglass shape.  You also won't want floaty-wispy fabrics or pastel
colours - they'd tend to make you look frumpy or washed out.  So that
basically excludes everything from 1800-1939, inclusive.  Anything that
tries to make your shoulders look slopey will just be wrong, too.

I'd go for something with a natural to slightly high waist that's not
over-accentuated, and squarish shaped shoulders.  Drea mentioned early
Norse ("Viking") and I'll admit that's what came to mind straight away
for me.  It would really work with your colouring and facial shape, I
think.  I can see you in BIG 16th century german, the sort with the huge 
hats.  You need a certain kind of presence to carry that off and I think
you could do it.  I think you'd also look "right" in 15th century
Flemish styles, the ones with the fitted kirtles with pin-on sleeves.
This is the only pic I could find of the style:
http://amiperiodornot.com/details.mhtml?image_id=364

K.

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
	Documentation)
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On Mon, 3 Nov 2003, Althea Turner wrote:

> I'm taking a history course right now and paintings are not considered
> a primary source as the painter may or may not be giving us an
> accurate depiction of clothing.  Paintings are considered excellent
> starting point, but it is a secondary source.  This is true in
> relation to the doctoral dissertation I'm working on.

OK, that's a new one on me for an academic venue. What is your course in,
specifically, and at what level? And did this come up in response to a
question specifically about clothing study, or in some other context? (The
average history professor isn't working in material culture...)

As I see it, the fact that the painting is "not accurate" is pretty much a
given; the task for the researcher is how to identify the particular
inaccuracies, and to contrast them with the other inaccuracies that occur
in other artistic media or in textual sources, each type of which has its
own limitations. Together, you can use the various pieces of evidence to
piece together a better "whole" picture. For instance, brasses tend to be
laden with certain symbolic values and have features that are artifacts of
the production process, but they're wonderful for grasping regional
details and sequential shifts in style. Tapestries are great sources on
colors but lousy on dates; manuscripts the other way around. Literature
almost by definition uses costume for rhetorical/symbolic purposes, while
inventories are very factual but extremely narrow in context. All are
primary sources; all show a partial but not a complete view of the fashion
at hand.

Extant garments are no more "accurate" than text or images; they thave
their own limitations, related to survival of materials, restoration,
confusion about provenance and ownership, and much more. It's very easy
and perilous to fall into the trap of saying "this is our only extant
garment from X period/place, so it's the only evidence we can use for any
style from X period/place" -- when the garment represents only one single
case, not necessarily the norm, and certainly not all classes or
techniques or styles. Often the reason a garment is preserved is because
it is unusual in some way. For a period that's rich in visual and written
references but poor in extant pieces, the artwork and documents together
may be a far more reliable source for many fashions. (This will sound
familir to anyone who's heard me explain why we can't extrapolate from the
Herjolfsnes finds to the court of France.)

--Robin

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Date: Tue, 4 Nov 2003 11:43:28 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] hair
To: Historical Costume <h-costume@indra.com>
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 --- Rima <rima@anet.net> wrote: 

> >Someone has mentioned that some hair might be not painted in because 
> >the fashion was for a high forehead (much as I'd like someone 
> >painting me to lessen my double chin(s)).

 
> Exactly...... we airbrush and stretch photos now to suit our 
> tastes.... I'm QUITE sure that painters were more than happy to 
> flatter their subjects.... especially since their subjects were 
> usually their patrons!
 

I don't know what time period the above is relation to, so I address my point in relation to the
SCA time frame.

We cannot take it for granted that people everywhere in the 1000 or so years that the SCA period
covers thought exactly as the photography/media industry does today. The point should be made that
(I would guess and relatively speaking) very few people get professional photos taken, and fewer
still would consent to airbrushing. Even today, when the "seven deadly sins" holds little to no
meaning for many of us, this is seen as a sign of vanity. Think what it may have been thought of
in the age in which the seven deadly sins held sway. This practice has become a standard (and
often villified one) of the media industry today.

I have seen many portraits in which the sitter was most definitely not flattered. I also find it
hard to believe that the clothing worn in such portraits would be deliberately painted any
differently to what the painter can see. Some artists were better than others at obtaining the
fine detail in portraits - and those were the ones highly sought after, and known even to this day
for their detailed portraits. Sofonisba Anguissola was one such - and was invited to the Spanish
court (where she remained for many years) for no other reason than to be a court portrait painter.
Her sitters (and their garments) look real and most definitely not flattered.




=====
****************************************
Bella 

*The Realm of Venus: Ladies Clothing in 16th Century Venice
http://realmofvenus.renaissancewoman.net
*Courtesan Mailing List
http://groups.yahoo.com/group/Courtesan/
*****************************************

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From h-costume-bounces@indra.com  Mon Nov  3 19:56:28 2003
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Date: Mon, 3 Nov 2003 17:01:35 -0800
Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
	Documentation)
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Hiya,

The class is on the cultural and historical aspects of the near 
environment.  (Due to budget cuts, apparel history has to share space 
with interiors..)   It covers aspects of dress and the built 
environment.  The prof acknowledged that the primary/secondary 
definition is rather fuzzy when it comes to paintings.  So for the 
class, paintings/mosaics/pottery are secondary when it comes to dress.  
It is considered primary if you are studying paintings/mosaics/pottery. 
  The class is undergrad/grad combined (another fun time with budget 
cuts).  I'm a grad student and should get back to my paper on the 
merovingian near environment.  :)

YMMV,
Althea

On Monday, November 3, 2003, at 06:07 PM, Robin Netherton wrote:

>
> On Mon, 3 Nov 2003, Althea Turner wrote:
>
>> I'm taking a history course right now and paintings are not considered
>> a primary source as the painter may or may not be giving us an
>> accurate depiction of clothing.  Paintings are considered excellent
>> starting point, but it is a secondary source.  This is true in
>> relation to the doctoral dissertation I'm working on.
>
> OK, that's a new one on me for an academic venue. What is your course 
> in,
> specifically, and at what level? And did this come up in response to a
> question specifically about clothing study, or in some other context? 
> (The
> average history professor isn't working in material culture...)
>
> As I see it, the fact that the painting is "not accurate" is pretty 
> much a
> given; the task for the researcher is how to identify the particular
> inaccuracies, and to contrast them with the other inaccuracies that 
> occur
> in other artistic media or in textual sources, each type of which has 
> its
> own limitations. Together, you can use the various pieces of evidence 
> to
> piece together a better "whole" picture. For instance, brasses tend to 
> be
> laden with certain symbolic values and have features that are 
> artifacts of
> the production process, but they're wonderful for grasping regional
> details and sequential shifts in style. Tapestries are great sources on
> colors but lousy on dates; manuscripts the other way around. Literature
> almost by definition uses costume for rhetorical/symbolic purposes, 
> while
> inventories are very factual but extremely narrow in context. All are
> primary sources; all show a partial but not a complete view of the 
> fashion
> at hand.
>
> Extant garments are no more "accurate" than text or images; they thave
> their own limitations, related to survival of materials, restoration,
> confusion about provenance and ownership, and much more. It's very easy
> and perilous to fall into the trap of saying "this is our only extant
> garment from X period/place, so it's the only evidence we can use for 
> any
> style from X period/place" -- when the garment represents only one 
> single
> case, not necessarily the norm, and certainly not all classes or
> techniques or styles. Often the reason a garment is preserved is 
> because
> it is unusual in some way. For a period that's rich in visual and 
> written
> references but poor in extant pieces, the artwork and documents 
> together
> may be a far more reliable source for many fashions. (This will sound
> familir to anyone who's heard me explain why we can't extrapolate from 
> the
> Herjolfsnes finds to the court of France.)
>
> --Robin
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Bella says:

>  --- Rima <rima@anet.net> wrote:
>
>>  >Someone has mentioned that some hair might be not painted in because
>>  >the fashion was for a high forehead (much as I'd like someone
>  > >painting me to lessen my double chin(s)).
>
>>  Exactly...... we airbrush and stretch photos now to suit our
>>  tastes.... I'm QUITE sure that painters were more than happy to
>>  flatter their subjects.... especially since their subjects were
>  > usually their patrons!
>
>I don't know what time period the above is relation to,

oh, it was a rash generalization!  ;-D

>so I address my point in relation to the
>SCA time frame.
>
>We cannot take it for granted that people everywhere in the 1000 or 
>so years that the SCA period
>covers thought exactly as the photography/media industry does today.

No question.   But then again, someone just posted that amazing list 
of beauty products...    I'm sure vanity was alive and well, despite 
its sinfulness... otherwise nobody would be wearing all that cool 
stuff we're working so hard to duplicate!  ;-D

I'm also sure that painters are painters, and they know about 
painting, not garments.... so there's no way of knowing how faithful 
their depiction of them might be.

Again, if I look at how dancers are most frequently portrayed in art 
to this very day, I would say, IMHO, that artists know NOTHING about 
it, or their vision is very poor.... so why should they do better 
with garments?????

This all leads me to believe that most painters paint their 
impression, not the literal thing they see, no matter how detailed 
the final product might seem.   And, if painters are poets on canvas, 
then that is their duty - to convey their impression, as opposed to 
an accurate historical record.... as much as we might sometimes wish 
otherwise....

Rima
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From: "Janet Davis" <castle@erie.net>
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Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
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Thank you Robin.  This is how I was taught to define primary and secondary
sources when I was in college, studying medieval history.  This other
definition, which I have heard in the SCA, seems so perfectionist.

Janet

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

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Subject: [h-cost] Girl with a Pearl Earring
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Speaking of paintings, movies, and such,  have you guys seen the 
trailers for this??????

OHMIGOD

Rima
http://www.girlwithapearlearringmovie.com/
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Date: Tue, 4 Nov 2003 12:34:38 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] hair
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I said:

> >We cannot take it for granted that people everywhere in the 1000 or 
> >so years that the SCA period
> >covers thought exactly as the photography/media industry does today.

Rima replied:

> 
> No question.   But then again, someone just posted that amazing list 
> of beauty products...    I'm sure vanity was alive and well, despite 
> its sinfulness... otherwise nobody would be wearing all that cool 
> stuff we're working so hard to duplicate!  ;-D


Oh it sure was! Not everyone listened to the preachers. But to expand that into a
medieval/renaissance version of airbrushing?  I think that's a mistake, one that's too easy to
make in this day and age. Ok, so counterfeit stones were ok, but counterfeit representation of
people, in many cases royalty? I think that would have gone against the grain of the renaissance
humanist principles, if nothing else.


> 
> I'm also sure that painters are painters, and they know about 
> painting, not garments.... so there's no way of knowing how faithful 
> their depiction of them might be.


As Robin so eloquently mentioned in a previous post, the also *wore* the garments, or at least
were witness to robing/disrobing and were familiar with the way the garments of both men and women
were put together. So long as what we are discussing is a portrait, not a biblical/allegorical
painting, I think it is unwise to assume that the painter has any other agenda than to faithfully
depict the very rich clothing of his/her very rich sitters - who would, I'm certain, wish for as
accurate a depiction of their wealth as possible.


 
> Again, if I look at how dancers are most frequently portrayed in art 
> to this very day, I would say, IMHO, that artists know NOTHING about 
> it, or their vision is very poor.... so why should they do better 
> with garments?????


That, perhaps, has more to do with the art movement during which most of the dancers I see were
depicted - impressionism?


 
> This all leads me to believe that most painters paint their 
> impression,

Yes. It would. :)


> not the literal thing they see, no matter how detailed 
> the final product might seem.   And, if painters are poets on canvas, 
> then that is their duty - to convey their impression, as opposed to 
> an accurate historical record.... as much as we might sometimes wish 
> otherwise....


As I said, if portraits of the sixteenth century are what we are discussing, then I am certain
that the artist's "impression" or "poetry" didn't come into it. Not so for allegorical art (even
though dress details can be backed up in such art - such as the location of lacing openings) or
biblical art, in which the artist has to use imagination as a primary source of inspiration, and
clothing details are not so reliable.



=====
****************************************
Bella 

*The Realm of Venus: Ladies Clothing in 16th Century Venice
http://realmofvenus.renaissancewoman.net
*Courtesan Mailing List
http://groups.yahoo.com/group/Courtesan/
*****************************************

http://personals.yahoo.com.au - Yahoo! Personals
New people, new possibilities. FREE for a limited time.
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> When someone is in clothing that fits and flatters them they tend to be
> more comfortable and move more naturally in it, which enhances the
> authentic effect and makes it seem more clothing than costume.

The reverse is also true. Some clothing will be more suitable to your
natural body movements. I have a very stiff body (I've never been able to
touch the ground with my figers, not even as a kid - and then I learned how
to hold my body stiff by taking ballet lessons for almost 10 years, so it's
both a natural thing and an acquired thing). Don't ask me to do latin
dances, my hips are just not loose enough for it to look good. I look best
in formal clothes. Fitted suits, straight skirts. Anything too loose or too
flowing just doesn't suit me. So I guess I'll look good in Elizabethan, once
I get my dresses finished :-)

My ancestors seem to come directly from France, on both sides of the family.
Well... parts of the tree we know about, in any case. I don't know anything
about region or social standing. I probably have some Amerindian blood
somewhere along the line, supposedly it's almost impossible not to have some
around here, and since we did live with the English for a long time, it's
very possible that I have some English blood as well. But I have never found
anyone who looks like me on a portrait.
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	Clothing")
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> My pet peeve is a perfect modern manicure, complete with polish....

oooh... yuck...

And sometimes, the hands are okay, but they're wearing sandals, and their
toe nails are painted red or black... I can understand, but it doesn't mean
I have to like it!

Or... modern shiny lipstick...
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
	Documentation)
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On Mon, 3 Nov 2003, Althea Turner wrote:

> The class is on the cultural and historical aspects of the near
> environment.  (Due to budget cuts, apparel history has to share space
> with interiors..)  It covers aspects of dress and the built
> environment.  The prof acknowledged that the primary/secondary
> definition is rather fuzzy when it comes to paintings.  So for the
> class, paintings/mosaics/pottery are secondary when it comes to dress.  
> It is considered primary if you are studying
> paintings/mosaics/pottery.

Interesting. It does sound as though this is more of a material culture
class; perhaps there's a different definition among material culture
specialists after all, though I hang out with textile people and haven't
heard it before. A written document -- say, a guild record of import
regulations or loom widths or thread count for specific fabrics -- is
smack on as a primary source for textiles, even though it's not a textile
itself. Paintings that show multiple textiles in use in interior paintings
are indeed an observer's report, but I can't imagine anyone I know in the
textile community saying they're "secondary" sources on the use of
textiles for interior design; if you take care to allow for the
allegorical, you can draw valuable information about things like known
fabric patterns or uses for fabrics in home decor. Ditto for, say, a
literary reference that describes someone sitting on a bench with cushions
... there's your primary source that cushions were known, and used on
benches, at least sometimes. And so on.

But even within a material culture focus, if your class is on looking at
"cultural and historical aspects" of dress, surely you're going to have to
get a lot of your information from sources other than extant clothing
itself. How would your professor feel about, say, sumptuary laws? They
don't necessarily tell us what people were actually wearing (because the
laws were often ignored), so they're "inaccurate" in that respect, but
they do tell us what types of clothing, furs, textiles, etc. were known
and available in a given place and time. That sounds like a primary source
to me, meaning information coming directly from the time and place. But
it's not an extant garment. Does that make it a secondary source for
purposes of your class? An extant garment wouldn't, in itself, tell you
who was wearing it and under what circumstances, or whether certain
aspects were considered marks of wealth or class in that culture. That can
be determined only from correlating the garment with references in text
(literature as well as documents) and also visuals (with careful
consideration to distinguish, say, a realistic genre scene of "people at
work" or "people on the street" vs. a "historical" scene of a Biblical
episode).

I guess it was the earlier reference to "accuracy" as a distinguisher of
primary vs. secondary that concerned me most. Any source can be accurate
or inaccurate to varying degrees, and that doesn't change whether it's
primary or secondary. And while the average primary source is probably
going to be more reliable a barometer of what was happening in the period
than the average secondary source, some primary sources can be badly
misleading or incomplete. "Primary" is not a synonym for "accurate" -- it
means only that it reflects some direct contemporary connection to the
experience of the thing you're studying.

Sorry, I think I'm repeating myself.

On yet another hand, I notice the reference to "mosaics and pottery" along
with paintings in your quote. I wonder if some of the issue your professor
was getting at is that you can't extrapolate from one medium to another --
say, just because a design motif appears in pottery doesn't mean it occurs
in fabric as well. A pot that doesn't include a figurative drawing would
be inapplicable to dress study, and would not be a primary source for
dress even though it happens to coincide in time and place. Could that
have been part of the distinction your professor was making?

>   The class is undergrad/grad combined (another fun time with budget
> cuts).  I'm a grad student and should get back to my paper on the
> merovingian near environment.  :)

Now there's a hard period for finding primary sources in general :-P
Sorry to distract you. You don't have to answer all the above if it would
keep you from your work ... I'm just musing, and curious.

--Robin

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Been reading this thread with interest. I think y'all may have hit the nail
on the head regarding regional/national body types informing regional
styles.

Try as I might, I love Tudor and Elizabethan but don't think it looks right
on me, mostly because I am far too dark for the "ideal" seen in portraits. I
wear sunscreen every day, but have an olive complexion and very angular
features, possibly from some Native American in my background (the rest of
my heritage is mostly English/Scottish).

Not like I'm going to drop 16 century styles (hey, I'm sure there were
swarthy girls somewhere wearing stays and farthingales!), but I'm curious:
what would y'all suggest for someone who is all shoulders/bust with no hips
or waist and an olive complexion and angular face (my hair is anachronistic
for all historic time periods - I rely on hats or wigs).

Allison T.

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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On Mon, 3 Nov 2003, Audrey Bergeron-Morin wrote:

> My ancestors seem to come directly from France, on both sides of the
> family. Well... parts of the tree we know about, in any case. I don't
> know anything about region or social standing. I probably have some
> Amerindian blood somewhere along the line, supposedly it's almost
> impossible not to have some around here, and since we did live with
> the English for a long time, it's very possible that I have some
> English blood as well. But I have never found anyone who looks like me
> on a portrait.

And combinations like this may pose a problem for people trying to find a
period/place in which they look like the norm, because many of us
melting-pot Americans have combinations of traits that would not have been
routinely found in historic cultures, with their more limited gene pools.
Someone might occasionally be noted as having an unusual feature, or a
family might trace a line of some recurring trait (such as an unusual hair
or eye color) from a single foreign ancestor, but individuals wouldn't be
likely to have combinations of features from widely differing cultures the
way we do in today's America. So we're heterogeneous not only as compared
to one another, but (for many of us) within our own bodies as well.

Speaking of which, just today my second grader just brought home his
instruction sheet for a cultural project -- draw a picture of someone
dressed as someone of "your ancestry." I'm a a second-generation Jew of
Eastern European descent married to a WASP who's a combination of English
and French Canadian blood. Our kids don't have a *single* ancestry, and I
don't want to see my son have to pigeonhole the rich variety in his
background into a single "heritage." I went through this two years ago
with my older son, and had a few choice things to say about it then (on
this list, as I recall).

--Robin

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From: "Megan M." <megan@benchite.com>
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Subject: RE: [h-cost] Facial and body types & costume (was: hair)
Date: Mon, 3 Nov 2003 21:23:53 -0500
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Wow.  Thanks everyone for the pointers.  Now to go look up some German
stuff.  I have Drea's Flemish book somewhere (moved this summer) so I can go
to that with the hope I would look OK in it.  And I'm doing Herjolfnes-style
stuff for camping/hot weather wear anyway, so that's great. I just love this
list!!  So many interesting discussions!
-Megan


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] hair
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On Tue, 4 Nov 2003, [iso-8859-1] Bella wrote:

> So long as what we are discussing is a portrait, not a
> biblical/allegorical painting, I think it is unwise to assume that the
> painter has any other agenda than to faithfully depict the very rich
> clothing of his/her very rich sitters - who would, I'm certain, wish
> for as accurate a depiction of their wealth as possible.

Actually, there's plenty of evidence that in some times/places, the
painters were told to make the painting more sumptuous -- add jewels and
fur and trim, or beef up what was there. Or a painter might combine
elements from several different garments at the sitter's request.

For instance, if you look at Holbein's sketches, you'll realize that he
put in almost no clothing detail when he made his studies from the sitter;
the faces are very detailed, but the clothes are sometimes no more than a
few stray outlines. He then took those studies back to his studio and
worked on the painting based on his sketches. Where he got the details of
the clothing that eventually went into the painting is anyone's guess.
Even more interesting, on some of the sketches, he's made side details of
several trims or ornaments -- from different garments belonging to the
owner? from something borrowed from someone wealthier? from his
imagination? -- only one of which ends up in the final painting, no doubt
after the purchaser has looked over the options and said "I like that one
there, use it."

There are also plenty of examples of manuscript paintings as well as panel
paintings in which costume details were added at a later date, sometimes
by a later owner, to make a costume more sumptuous or significant in
particular way, or even to update the style (which can create a real
mishmash).

This is one reason that paintings should be considered accurate renditions
of what people valued in dress, but not what specific people necessarily
wore -- unless you have corroborative evidence. Fortunately we can get the
latter in some cases. To balance the examples I gave above, there are
wonderful examples in which we can match the clothing or accessories that
appear in a painting with specific items that are mentioned in the
sitter's will or wardrobe inventories. Or other cases in which we know
(say, from letters or diaries) that the sitter loaned a particular outfit
to a painter so the painter could put it on a stand (or another model) and
paint it into the portrait at his leisure, without the purchaser having to
sit for the entire duration of the process.

And some painters clearly had studio-prop clothing that they used over and
over again on models -- so we know the clothes existed, but we can also
conclude that they weren't part of the sitter's wardrobe! This is less the
case with portraits, though, and more common with genre scenes, religious
scenes, story scenes, etc.

This is why it's useful to gather as much information as you can about the
provenance of the painting, the habits of the painter, etc. before making
judgments about how a particular garment in a picture went together.

--Robin

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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] Wierd question (was  link: "Accurate Reproduction
	Clothing")
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> > My pet peeve is a perfect modern manicure, complete with polish....
> 
> oooh... yuck...


This is an area that has me curious. In Complete Anachronist#53 (for the non SCA types that's an
SCA publication - each issue is by one or a group of authors writing on one subject), the author
states that during the Renaissance in Italy "the nails were painted or gilded".

If anyone has more info on this I would appreciate knowing about it. :)




=====
****************************************
Bella 

*The Realm of Venus: Ladies Clothing in 16th Century Venice
http://realmofvenus.renaissancewoman.net
*Courtesan Mailing List
http://groups.yahoo.com/group/Courtesan/
*****************************************

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From: Rima <rima@anet.net>
Subject: Re: [h-cost] hair
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>I said:
>
>>  >We cannot take it for granted that people everywhere in the 1000 or
>>  >so years that the SCA period
>>  >covers thought exactly as the photography/media industry does today.
>
>Rima replied:
>
>  > No question.   But then again, someone just posted that amazing list
>>  of beauty products...    I'm sure vanity was alive and well, despite
>>  its sinfulness... otherwise nobody would be wearing all that cool
>  > stuff we're working so hard to duplicate!  ;-D
>
>Oh it sure was! Not everyone listened to the preachers.

and they still don't!  ;-D

>But to expand that into a medieval/renaissance version of 
>airbrushing?  I think that's a mistake, one that's too easy to make 
>in this day and age. Ok, so counterfeit stones were ok, but 
>counterfeit representation of people, in many cases royalty? I think 
>that would have gone against the grain of the renaissance humanist 
>principles, if nothing else.

I don't suppose we'll ever know!

>  > I'm also sure that painters are painters, and they know about
>>  painting, not garments.... so there's no way of knowing how faithful
>  > their depiction of them might be.
>
>As Robin so eloquently mentioned in a previous post, the also *wore* 
>the garments, or at least
>were witness to robing/disrobing and were familiar with the way the 
>garments of both men and women were put together. So long as what we 
>are discussing is a portrait, not a biblical/allegorical
>painting, I think it is unwise to assume that the painter has any 
>other agenda than to faithfully
>depict the very rich clothing of his/her very rich sitters - who 
>would, I'm certain, wish for as
>accurate a depiction of their wealth as possible.

Funny, I was speaking to someone today, a very VERY bright woman with 
a masters degree in literature, but who wasn't aware of whether or 
not the sweater she was wearing was knitted or woven.   Just 'cause 
you drive a car, doesn't mean you know how to build one, or even draw 
it, even if it's your own, and you're an artist!  ;-D

>  > Again, if I look at how dancers are most frequently portrayed in art
>>  to this very day, I would say, IMHO, that artists know NOTHING about
>>  it, or their vision is very poor.... so why should they do better
>>  with garments?????
>
>
>That, perhaps, has more to do with the art movement during which 
>most of the dancers I see were
>depicted - impressionism?

Not really..... still happens to this very day....

>  > This all leads me to believe that most painters paint their
>>  impression,
>
>Yes. It would. :)
>
>  > not the literal thing they see, no matter how detailed
>>  the final product might seem.   And, if painters are poets on canvas,
>>  then that is their duty - to convey their impression, as opposed to
>>  an accurate historical record.... as much as we might sometimes wish
>  > otherwise....
>
>As I said, if portraits of the sixteenth century are what we are 
>discussing, then I am certain
>that the artist's "impression" or "poetry" didn't come into it. Not 
>so for allegorical art (even
>though dress details can be backed up in such art - such as the 
>location of lacing openings) or
>biblical art, in which the artist has to use imagination as a 
>primary source of inspiration, and
>clothing details are not so reliable.

I would hope that even an artist who's inspired to be faithful would 
find other inspiration besides....   artists aren't photographers, 
and even when there was no such thing, I doubt they would WANT to be 
photographers given the chance....

OK, I'm totally guessing here, with no evidence whatsoever except for 
knowing how humans are (and often were), that a truly GREAT artist 
would be insulted on being complimented for capturing a likeness....

Rima
I love having someone to argue this stuff with, even if we don't 
quite agree!  ;-D
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Greetings to one all,
  This is just a quick thank you to everyone who has discussed the 
subject of research.  Since it is something that I love to do, but 
haven't perfected as yet.  Luckily, I have the local help of Kat and 
Arlys, when I get stuck.
   And yes, Kat, classwork first!  :)  Now back to my classwork and read 
all of the stuff on research later.  Thanks again, everyone.

Roscelin


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Subject: Re: [h-cost] Primary? Secondary? (was: On the Subject of
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Greetings,

I think that this is a judgment call as to whether a painting can be 
considered primary or secondary.  As someone said, if you had a 
painting depicting a garment, and had the actual garment, you could 
make the case for it being primary.

As for Sumptuary laws, and other legal and economic documents, would be 
considered primary sources, if you had the actual documents (or an 
accurate translation).  But citing an article about the documents would 
be a secondary source.

I think this is one of those lovely grey areas that just depends on 
your point of view and how you are trained.  :)

Yes, I'm having a devil of a time finding information on Merovingian 
culture, which is one reason I picked it.  lol  I do like the obscure.

Althea

On Monday, November 3, 2003, at 07:16 PM, Robin Netherton wrote:

>
> On Mon, 3 Nov 2003, Althea Turner wrote:
>
>> The class is on the cultural and historical aspects of the near
>> environment.  (Due to budget cuts, apparel history has to share space
>> with interiors..)  It covers aspects of dress and the built
>> environment.  The prof acknowledged that the primary/secondary
>> definition is rather fuzzy when it comes to paintings.  So for the
>> class, paintings/mosaics/pottery are secondary when it comes to dress.
>> It is considered primary if you are studying
>> paintings/mosaics/pottery.
>
> Interesting. It does sound as though this is more of a material culture
> class; perhaps there's a different definition among material culture
> specialists after all, though I hang out with textile people and 
> haven't
> heard it before. A written document -- say, a guild record of import
> regulations or loom widths or thread count for specific fabrics -- is
> smack on as a primary source for textiles, even though it's not a 
> textile
> itself. Paintings that show multiple textiles in use in interior 
> paintings
> are indeed an observer's report, but I can't imagine anyone I know in 
> the
> textile community saying they're "secondary" sources on the use of
> textiles for interior design; if you take care to allow for the
> allegorical, you can draw valuable information about things like known
> fabric patterns or uses for fabrics in home decor. Ditto for, say, a
> literary reference that describes someone sitting on a bench with 
> cushions
> ... there's your primary source that cushions were known, and used on
> benches, at least sometimes. And so on.
>
> But even within a material culture focus, if your class is on looking 
> at
> "cultural and historical aspects" of dress, surely you're going to 
> have to
> get a lot of your information from sources other than extant clothing
> itself. How would your professor feel about, say, sumptuary laws? They
> don't necessarily tell us what people were actually wearing (because 
> the
> laws were often ignored), so they're "inaccurate" in that respect, but
> they do tell us what types of clothing, furs, textiles, etc. were known
> and available in a given place and time. That sounds like a primary 
> source
> to me, meaning information coming directly from the time and place. But
> it's not an extant garment. Does that make it a secondary source for
> purposes of your class? An extant garment wouldn't, in itself, tell you
> who was wearing it and under what circumstances, or whether certain
> aspects were considered marks of wealth or class in that culture. That 
> can
> be determined only from correlating the garment with references in text
> (literature as well as documents) and also visuals (with careful
> consideration to distinguish, say, a realistic genre scene of "people 
> at
> work" or "people on the street" vs. a "historical" scene of a Biblical
> episode).
>
> I guess it was the earlier reference to "accuracy" as a distinguisher 
> of
> primary vs. secondary that concerned me most. Any source can be 
> accurate
> or inaccurate to varying degrees, and that doesn't change whether it's
> primary or secondary. And while the average primary source is probably
> going to be more reliable a barometer of what was happening in the 
> period
> than the average secondary source, some primary sources can be badly
> misleading or incomplete. "Primary" is not a synonym for "accurate" -- 
> it
> means only that it reflects some direct contemporary connection to the
> experience of the thing you're studying.
>
> Sorry, I think I'm repeating myself.
>
> On yet another hand, I notice the reference to "mosaics and pottery" 
> along
> with paintings in your quote. I wonder if some of the issue your 
> professor
> was getting at is that you can't extrapolate from one medium to 
> another --
> say, just because a design motif appears in pottery doesn't mean it 
> occurs
> in fabric as well. A pot that doesn't include a figurative drawing 
> would
> be inapplicable to dress study, and would not be a primary source for
> dress even though it happens to coincide in time and place. Could that
> have been part of the distinction your professor was making?
>
>>   The class is undergrad/grad combined (another fun time with budget
>> cuts).  I'm a grad student and should get back to my paper on the
>> merovingian near environment.  :)
>
> Now there's a hard period for finding primary sources in general :-P
> Sorry to distract you. You don't have to answer all the above if it 
> would
> keep you from your work ... I'm just musing, and curious.
>
> --Robin
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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Subject: Re: [h-cost] Re:  Wierd question (was  link: "AccurateReproduction
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Can the photos of the step by step techniques focus closely on just hands and materials? Not show the costumes at all or 
maybe just shirt cuffs/ sleeves if anything during the "construction " photos?  That would emphasize the techniques and not 
really detract from the focus of shoes. Then in the finished photos show the finished shoes with era appropriate outfits, if 
feasible, to give the overall impression.

  Just my impressions of what might solve the dilemma.

Crissy
> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
> >....possibly have all the tiny little details right. If they were in period
> >clothing, I'd expect them to be using only period tools and using those
> >tools exactly in the period way, in a period setting.... I think I'd prefer
> >someone dressed plainly in modern clothes.
> 
> But they will be using only period tools and period techniques.  That's the 
> point of the book :)
> 
> Marc
> 
> _________________________________________________________________
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From: Elizabeth Lear <eliz@indra.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Facial and body types & costume
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> what would y'all suggest for someone who is all shoulders/bust with no hips
> or waist and an olive complexion and angular face (my hair is anachronistic
> for all historic time periods - I rely on hats or wigs).
> Allison T.

Sounds perfect for Italian Ren!  Here's a nice page:
	http://pweb.jps.net/~lynnmcm/miditalian.html

					...eliz

-- 
"How old would you be if you didn't know how old you were?"
                                      -Satchel Page
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Subject: Re: [h-cost] RE: Facial and body types & costume
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You may be able to pull off Slavic or Russian pretty well. I know the
Saami of Finland and through them many Finns and Scandinavians in general
share some genetic similarities with other polar American Indian groups.
Perhaps Mongolian, or some other central asian people? Or Greek?

If you love 16th century, perhaps you can experiment with some Spanish or
Portugese styles.

Drea

On Mon, 3 Nov 2003, A.Thurman wrote:

> Been reading this thread with interest. I think y'all may have hit the nail
> on the head regarding regional/national body types informing regional
> styles.
>
> Try as I might, I love Tudor and Elizabethan but don't think it looks right
> on me, mostly because I am far too dark for the "ideal" seen in portraits. I
> wear sunscreen every day, but have an olive complexion and very angular
> features, possibly from some Native American in my background (the rest of
> my heritage is mostly English/Scottish).
>
> Not like I'm going to drop 16 century styles (hey, I'm sure there were
> swarthy girls somewhere wearing stays and farthingales!), but I'm curious:
> what would y'all suggest for someone who is all shoulders/bust with no hips
> or waist and an olive complexion and angular face (my hair is anachronistic
> for all historic time periods - I rely on hats or wigs).
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] hair
To: Historical Costume <h-costume@indra.com>
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 --- Rima <rima@anet.net> wrote: > >I said:

> Funny, I was speaking to someone today, a very VERY bright woman with 
> a masters degree in literature, but who wasn't aware of whether or 
> not the sweater she was wearing was knitted or woven.   Just 'cause 
> you drive a car, doesn't mean you know how to build one, or even draw 
> it, even if it's your own, and you're an artist!  ;-D


That does not relate to whether a Renaissance artist could paint a dress accurately. Textiles
aren't the be-all and end-all of fortune-making industries these days. Not so in the Renaissance.
Textiles and spices. 

A car is a mechanical thing. Not all artists are adept at drawing cars. Or clothing for that
matter. But Renaissance portrait artists were. They were the experts in their field, just as your
masters in literature has her speciality.


 
> >  > Again, if I look at how dancers are most frequently portrayed in art
> >>  to this very day, I would say, IMHO, that artists know NOTHING about
> >>  it, or their vision is very poor.... so why should they do better
> >>  with garments?????
> >
> >
> >That, perhaps, has more to do with the art movement during which 
> >most of the dancers I see were
> >depicted - impressionism?
> 
> Not really..... still happens to this very day....


Yes, to some extent, but then other movements, other means of expression in art have come about.
This does not mean that the same applied to the 16th century. We must remember that the
Renaissance was an ideal the brought about changes - the human as master of his/her destiny. This
is why portraiture came about. In such a climate the human being began to be depicted with ever
increasing levels of realism.


 
> I would hope that even an artist who's inspired to be faithful would 
> find other inspiration besides....


Painting in general is an area where inspiration is needed, yes. Portraiture on the other hand
does not require inspiration. It merely requires a good eye for detail and an ability with the
human form.


> artists aren't photographers,


In the sixteenth century they were. That was the closest thing to photography.


> and even when there was no such thing, I doubt they would WANT to be 
> photographers given the chance....
> 
> OK, I'm totally guessing here, with no evidence whatsoever except for 
> knowing how humans are (and often were), that a truly GREAT artist 
> would be insulted on being complimented for capturing a likeness....


That's probably because there is a modern mind set regarding photography and art that says that
the "art" is the great thing, so that we see "portraits" of greats depicted as barely discernible
people, or otherwise distorted by today's artistic theory, sometimes to great acclaim, the
pinnacle of which is the Archibald Prize. There is a tendency see the issue through the fog of
movements in art that have occured since the period under discussion. But that was not the way
things were in the Renaissance.

I doubt that Titian, the greatest Venetian painter ever, was ever insulted by being asked to Rome
to paint Emperor Charles V on horseback. Or that Sofonisba Anguissola was insulted to be invited
to paint the portraits of, and live with, the Spanish Royal family. One has to understand that
narrative painting and portraiture were two different things in the Renaissance, and both were
equally prized, albeit for different reasons.



> I love having someone to argue this stuff with, even if we don't 
> quite agree!  ;-D


I always enjoy a debate if it's well argued and scholarly. :)

=====
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*The Realm of Venus: Ladies Clothing in 16th Century Venice
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: [h-cost] Re: [TheRenTailor] Update from the estate of Janet Arnold
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  thought you folks would be interested!

  Lisa
  ----- Original Message ----- 
  From: leycestershyre 
  To: TheRenaissanceTailor@yahoogroups.com 
  Sent: Monday, November 03, 2003 4:38 PM
  Subject: [TheRenTailor] Update from the estate of Janet Arnold


  Greetings,

  For those of you with an interest in the works of the late great 
  British costume historian, Janet Arnold, I offer the following news.  
  I have today, received a letter from Santina M. Levey, (the executor 
  of Janet Arnold's estate) updating me on the work that both she and 
  Millie Jaffe' have been conducting, to assemble one last final volume 
  in the "Patterns of Fashion" series.  

  Those of you, who have followed my previous posts, will remember that 
  Ms. Levey and Mrs. Jaffe' have been working with previously 
  unpublished research materials of Ms. Arnold's, relating to fair 
  linen - coifs, shirts, shifts, ruffs, collars, etc. which were left 
  as part of the estate.  

  Originally, they had hoped to be ready for a publication date of late 
  2003 or early 2004.  Ms. Levey informs me that unfortunately due 
  to "personal reasons", there will be at least a one year delay until 
  the new volume is published.  

  She goes on to say the the new volume will be published by Macmillan 
  as part of the existing series of "Patterns of Fashion", but that we 
  should not expect to see it until late 2004 or early 2005.

  Please free to forward to other interested parties or lists, as 
  desired.  

  In service to Crown and Coronet, yours faithful and ever assured,
  HL Eleanor of Leycestershyre, AoA, JdL, etc
  Apprentice to Mistress Sine Gillian MacDonald, OL
  "Purpure a Phoenix Or rising from Flames Gules, on a Chief Or three 
  Suns in Splendour Purpure"
  Head of House Crone Henge

  Loquora unica veritatis



        Yahoo! Groups Sponsor 
       
       

  This egroup is based on the website http://www.vertetsable.com, more commonly known as The Renaissance Tailor; Recreating 16th and 17th Century Clothing.

  To unsubscribe from this group, send an email to:
  TheRenaissanceTailor-unsubscribe@egroups.com



  Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service. 

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	Re: Primary? Secondary? (was: On the Subject of Documentation)
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>Someone asked me about this distinction at KWCS a few weeks ago, and what
>I told her was this: I have heard this particular sort of distinction
>between primary and secondary and tertiary ONLY from re-enactors
>(particularly SCA people). I have never heard it used in this way by
>academic historians. And I suspect that if you said to a professional
>historian that a painting from the 15th century is *not* a primary source
>for dress of the 15th century, you would get a look of stark amazement,
>because your listener would conclude you have no idea what the terms mean.
>And that would go double if you said that when you're working from a photo
>of the painting, that makes it a tertiary source.

I'm just trying to catch up on today's mail --

Actually this is exactly how I was taught the progression goes in academics. 
  Of course, my initial training was in anthropology and if you try to argue 
that a copy is the same as the original you'll get stared at.

This is why back-tracking sources is such a big thing for me, the closer I 
can get to the original items the better.  I've seen far too many cases 
where a painting or engraving leaves out crucial details that an actual 
garment might indicate.   A painting is a description of an original, not 
the original itself.

>history of that period/place, as far as historians are concerned. The fact
>that the image is filtered through the artist's mind and hand does not
>change the primary-ness of the source, though it does add an interpretive
>layer that we need to take into account as we analyze and apply the
>source.

That interpretative layer is the same thing that pushes an event to a 
description, rather than it being the event itself.


>But the whole idea of using "primary" and "secondary" to distinguish
>degrees of removal from the artifact, for sources still within the same
>time-place context, just leaves me scratching my head. This redefinition
>of terminology seems to have become pervasive in SCA circles among people
>who really, truly want to promote good use of sources. In addition to
>Cynthia's article and Tasha's post, I see the same thing on Kass's site at
>http://www.reconstructinghistory.com/beginners/research.html , under
>"Types of Sources." All three of these ladies known for doing good
>research, and all three seem to have picked up this same set of new
>distinctions, so clearly these ideas are getting a lot of play out there
>in re-enactment circles. I can only guess that this originated in a
>good-faith attempt to teach people to find and use the best sources, and
>somehow developed into a far-too-literal use of the conventional terms.

I think you'll find it in archaeology and anthropology, not just the SCA.

>I would be very interested in hearing from some of the other people on the
>list who work in academic areas. I won't rule out that maybe there's been
>some huge terminology change that I've somehow missed in the years that
>I've been active in the field.

It's also quite possible that there's always been a difference in 
interpretation of those terms.

>Even so, I think that the literalmindedness that is leading some people to
>say that only the artifact is "primary"  threatens to reinforce the
>tunnelvision I see in some people who do reenactment-based research, who
>focus strictly on "how is this thing made" without ever becoming aware of
>such issues as "in what social context would it have been worn," or "what
>messages would wearing this item have sent to people of the time," or
>"what are the economic factors involved in the choice of techniques and
>materials"...

I see...

Marc

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Subject: Re: [h-cost] hair
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 --- Robin Netherton <robin@shell.nightowl.net> wrote: > 

> Actually, there's plenty of evidence that in some times/places, the
> painters were told to make the painting more sumptuous -- add jewels and
> fur and trim, or beef up what was there. Or a painter might combine
> elements from several different garments at the sitter's request.

I have seen no such evidence, but that's not insurmountably relevant. What is relevant is that,
what evidence there is should not be taken out of context. For one thing, I don't see how we could
know if the artist followed the advice/request or not. For another, we don't (or at least I don't)
know if the evidence points to that being a regular occurance, a universal truth, or just
something that occured a handful of times, for, say, a miniature portrait, where it's the face
that's important. Another issue is "which times and places?" The danger being that generalisations
are made about the accuracy/non-accuracy of portraits, when the answer is as varying as the dates
and locations of the portraits, artists and sitters themselves. Also, "beefing up" a portrait does
not indicate that the artist invented jewels that were not in existance, and on the very garment
in question, or that the fur did not exist on other items of clothing. 

It is the details that make up the whole. Most of us in the SCA take the details of any given
garment in a portrait and know that 1. those details (fur, jewels, fabric type) existed, and 2.
they existed in the time and place in which the portrait was painted and were used in the manner
in which they were painted, and 3. If the details were added by request then they are there
because someone else had them on their clothing, and the sitter was trying to "keep up with the
Joneses". 

None of this detracts from the degree of usefulness of a portrait, which is a secondary source,
but a very useful one. None of the above is relevant unless a specific garment is being
re-created. Yes, text sources that back up a particular portrait are good, very good, but they
have their limitations, as well as being few and far between. I feel it is dangerous and
misleading to generalise about portraiture and artist's methods as much as it is to do so about
garment construction.




=====
****************************************
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Subject: [h-cost] Re:  Wierd question (was  link: "Accurate	Reproduction
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I retract the question.  Thank you all for your responses.

Marc

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_Historical Fashion in Detail: the 17th and 18th Centuries_ by Avril 
Hart, Susan North.

http://www.amazon.co.uk/exec/obidos/ASIN/1851772588/thecostumersmani/026-7454127-4038009#product-details


Just curious to see if anybody has comments about it. It might go on my 
wish list.



Dawn



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Do not hesitate. Do not pause. Buy that book. It has all the pictures
that you'd take if you had access to this stuff.....and studio
lighting.....and a good close-up camera.....and someone along to do scale
pattern drawings....Oh just buy it!!!!



Karen


On Mon, 03 Nov 2003 22:32:17 -0600 Dawn <dawn@reddawn.net> writes:
> _Historical Fashion in Detail: the 17th and 18th Centuries_ by Avril 
> 
> Hart, Susan North.
> 
>
http://www.amazon.co.uk/exec/obidos/ASIN/1851772588/thecostumersmani/026-
7454127-4038009#product-details
> 
> 
> Just curious to see if anybody has comments about it. It might go on 
> my 
> wish list.
> 
> 
> 
> Dawn
> 
> 
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
> 

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At 10:32 PM 11/3/2003 -0600, you wrote:
>_Historical Fashion in Detail: the 17th and 18th Centuries_ by Avril Hart, 
>Susan North.
>
>http://www.amazon.co.uk/exec/obidos/ASIN/1851772588/thecostumersmani/026-7454127-4038009#product-details
>
>
>Just curious to see if anybody has comments about it. It might go on my 
>wish list.
>
>
>
>Dawn


Hi Dawn,

I have a copy of the book myself. I love the photos in it, lots of close up 
details.

Biggest issue I have is that the book has images of garments clumped in 
each chapter, like "Stitching, Seams, Quilting and Cording", Buttons, 
Trimmings, "Applied Decoration", etc. What bothers me is that you don't get 
the overall image of a garment, but a lot of close up fragments of a 
garment. It would have been nice to see an overall image as well.

The book also provides a basic sketch of each garment, even if the original 
garment is missing a section.

But I love the book. Not my time period, but the details just get me 
drooling every time I look at the book. Close ups of the embroideries are 
just to die for. All in wonderful full color large images the size of the 
book itself. In fact, the left page is the description, and the right page 
is the full image, and it is larger than 8.5 x 11. I don't have my ruler 
handy or I would measure it right now.

Anyway, I think it was worth the full price I paid when it first came out. 
I love it.

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 Monday 03 November 2003 11:31 pm, seamstrix@juno.com wrote:
> Do not hesitate. Do not pause. Buy that book. It has all the pictures
> that you'd take if you had access to this stuff.....and studio
> lighting.....and a good close-up camera.....and someone along to do scale
> pattern drawings....Oh just buy it!!!!

I own a used copy, and here's my two cents....

It's worth having.  It has amazing extreme close up full color photos of 
amazing costume details from 17th and 18th c originals--buttons, embroidery, 
ribbons, ruchings, etc.   What it doesn't have is full-color photos of the 
*entire* garment.  It has detailed closeups of portions, but only black and 
white outline sketches of the garment as a whole.

If you can get the paperback version (which I think is $29.99 new) buy it.  If 
you can't, go for the hardback edition only if you can get it for paperback 
prices, or if your "period" includes the 17th and/or 18th centuries.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
 Documentation)
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On Mon, 3 Nov 2003, Marc Carlson wrote:

> >academic historians. And I suspect that if you said to a professional
> >historian that a painting from the 15th century is *not* a primary source
> >for dress of the 15th century, you would get a look of stark amazement,
> >because your listener would conclude you have no idea what the terms mean.
> >And that would go double if you said that when you're working from a photo
> >of the painting, that makes it a tertiary source.
> 
> Actually this is exactly how I was taught the progression goes in
> academics.  Of course, my initial training was in anthropology and if
> you try to argue that a copy is the same as the original you'll get
> stared at.

Um, just in case that wasn't clear -- I wouldn't argue (or expect anyone
to argue) that a photo of an artwork is the same as the original. But for
most of us who deal with vast numbers of, say, manuscript paintings as
examples, it's expected that we're usually working from reproductions as
we compare and classify various works. In particular cases it may become
important for us to examine the original artwork; there's always the risk
that the particular reproduction I use might be missing some nuances of
shading or brushstroke or coloring that might reveal a telling detail. So,
if I'm going to analyze the seams in Magdalen's dress in van der Weyden's
Deposition, I'd ideally go to Madrid and look at the real thing (I did,
and it made a difference!). But if I'm talking about the the content of an
art work as a source for, say, class implications of a fashion, or
circumstances under which a fashion might have been worn, or ways that
someone might arrange clothing in wear, or whether a given style was known
in a particular century, a reproduction probably will tell me as much as I
need to know. And because I'm basing my interpretation, in such a case, on
the content of the painting itself, no historian would say that the
painting is a primary source if I stand in front of it but suddenly
becomes a secondary source if I work from a photographic reproduction. If
I were working from someone's *drawing* of the painting, *that's* a
secondary source. In the same way, I can work from a microfiche of a
manuscript, and I'm still dealing with the content of the manuscript
itself -- the words on the paper -- and it's still a primary source even
if I've never touched the original pages.

> This is why back-tracking sources is such a big thing for me, the
> closer I can get to the original items the better.  I've seen far too
> many cases where a painting or engraving leaves out crucial details
> that an actual garment might indicate.  A painting is a description of
> an original, not the original itself.

Hmm. I think we're bringing in a whole 'nother issue here. It sounds like
you're assuming we're talking about studying some "original" -- say, a
specific person's real garment -- that's being depicted in a painting.
Here's where I think we really are seeing a difference between archaeology
(or material culture) and, say, social history (which is probably a better
general classification for "history of dress" as I study it). A painting
from the period gives me original, primary information about what a
fashion means to some of the people who had first-hand acquaintance with
that fashion. I look at the painting for what it tells me about the nature
of the fashion -- when and how it was worn, how it looked to observers,
who it was associated with -- but I'm not expecting to get details of a
particular single garment that may or may not have existed. If you look at
Gaston Phoebus's Book of the Hunt, you'll see loads of useful views of
clothing from many angles, in a range of variations on a few basic styles
from a single time/place context. I seriously doubt every, or even any, of
those images represent a specific garment that existed on some specific
real person, and that's fine for me, because I'm not trying to study such
an individual garment; I'm studying the fashion as a whole. So what we're
getting here is a visual description of how clothing of this general style
behaves in wear, presented by someone who has seen (and likely worn)
clothing of this style in life.

Engravings may be another matter. An engraving (or woodcut) that's made in
the period of the fashion I'm studying is, for my purposes, as much of a
work of art as any other artwork in any other medium from the same period:
The engraver has a personal experience of the fashion he is depicting. And
the accuracy of the art work will have limitations imposed by the medium.
But usually when I think of engravings, I think of an engraver's
reproduction of another work of art, as you see in many 18th and 19th
century books that reproduce medieval art via the only means that was
available at that time. In that case the engraving is a redrawing of an
artwork, and is a secondary source of the original artwork.

If that's what you're referring to, then in such cases, yes, back-tracking
sources is essential -- I wouldn't work from an engraving if I can see the
art work or artifact it was based on. But I also wouldn't call such an
engraving a primary source. (I dealt with some of these issues about
changes that occur in copying in the lecture on Victorian influence on
costume study I gave in Denver a couple of weeks ago.)

Of course art works may leave out crucial details that an actual garment
might indicate. At the same time, garments leave out crucial information
about social context, economics, outfit combinations, manner of wear, etc.
that paintings (and documents and other sources) will indicate. As an
historian of dress, I need *all* that information to make sense of what
was happening. And all of it ranks as primary for this kind of study.

> I think you'll find it in archaeology and anthropology, not just the SCA.
> ...
> It's also quite possible that there's always been a difference in 
> interpretation of those terms.

I agree that this is likely. If that's so, it would make a lot of sense
out of the two sets of definitions we're hearing on this thread. (And I've
never had training in archaeology, so I would not have recognized the
different treatment of these terms as used by archaeologists.)

So as to which definition to use, the question then becomes, what sort of
research is an individual doing? This issue on this thread came out of the
question of "what counts as a primary source for documentation." I guess
to answer that, we have to determine what exactly someone is documenting.
Perhaps for purposes of documenting a reconstruction of a known extant
garment, the "archaeological" set of definitions is the right one, and
anything less than the actual garment is a secondary source. This gets
more troublesome, though, when you're documenting a *hypothesized* garment
-- e.g. an example of a known fashion, where you've made creative
decisions in combining particular textiles, ornamentation, accessories,
cutting methods, etc., in a manner that you hope is logical to the period.
That presumably requires some understanding of the context of the fashion,
the circumstances in which it would have been worn, the fabrics available
and affordable to someone who would have worn it, and much more. And
that's more on the "social history" line.

My work is broader than reconstruction; I tend to look at development and
influence of styles and their place in the aesthetic and economic context
of a period. This sort of analysis is, I suppose, more than is normally
expected of someone documenting a costume. Still, if the work is as much
social/economic/art history as it is material culture, there's a good
argument for using the definitions of primary sources from that end of the
research spectrum.

Thanks, Marc, for clarifying my hunch that there might be a difference in
definitions of terminology in different fields -- one materials-based, one
events-based. Since both avenues overlap a lot in dress history, I expect
I will find this a useful thing to be aware of as I deal with people who
come from one direction or another.

For more practical purposes, it doesn't really matter what you call your
sources -- primary, secondary, tertiary, etc. What matters is that you get
as close as you can to the original material, and that you learn how to
recognize and compensate for the inherent inaccuracies in *every* type of
source.

--Robin


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] hair
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I wrote, in response to some previous statements that suggested portraits
were most likely to be accurate representations:

> > Actually, there's plenty of evidence that in some times/places, the
> > painters were told to make the painting more sumptuous -- add jewels and
> > fur and trim, or beef up what was there. Or a painter might combine
> > elements from several different garments at the sitter's request.

Bella responded, in part:

> I have seen no such evidence, but that's not insurmountably relevant.
> What is relevant is that, what evidence there is should not be taken
> out of context. For one thing, I don't see how we could know if the
> artist followed the advice/request or not. For another, we don't (or
> at least I don't) know if the evidence points to that being a regular
> occurance, a universal truth, or just something that occured a handful
> of times, for, say, a miniature portrait, where it's the face that's
> important. Another issue is "which times and places?" The danger being
> that generalisations are made about the accuracy/non-accuracy of
> portraits, when the answer is as varying as the dates and locations of
> the portraits, artists and sitters themselves.

That was exactly my point, when I wrote "in some times/places" above. The
original statement I was responding to could have been read as a blanket
generalization that portraits were reliable representations of life. I
wanted to temper that generalization with a warning that this all depends
on such matters as the expectations and purpose of portraiture in a given
time/place context as well as the arrangement between an individual and an
artist. The purpose of my counterexamples (which included several periods,
several media, and cases in which we know portraits to be accurate as well
as cases in which we know that they weren't) was to make clear that there
is no universal rule, and that the researcher needs to become familiar
with the artistic approaches in his/her specific period of interest, as
well as the provenance and circumstances of the specific art work, if
possible.

> It is the details that make up the whole. Most of us in the SCA take
> the details of any given garment in a portrait and know that 1. those
> details (fur, jewels, fabric type) existed, and 2. they existed in the
> time and place in which the portrait was painted and were used in the
> manner in which they were painted, and 3. If the details were added by
> request then they are there because someone else had them on their
> clothing, and the sitter was trying to "keep up with the Joneses".

These assumptions are safe up to a point, and safer in some periods than
in others. But sometimes they'll lead you astray. Not all portraiture had
the purpose of representing a wealthy person in his/her finery (or desired
finery). There are some media/times/places/circumstances in which a person
might be presented deliberately in clothing of royalty or history or
allegory or fancy dress or religious penance or political affiliation.
Often the symbolic use of clothing elements in these portraits goes
completely past the modern observer. (It is somewhere between amusing and
frightening to see just how far afield an art historian who does not have
costume knowledge can go in making statements about clothing based on a
painting that was never meant to represent reality, and would have been
understood as such by viewers of the time.) Consider the famous portrait
of George Washington in a toga ... at least most of us can look at that
today and know it was symbolic, but it's harder for moderns to recognize
similar cases in more distant periods, when everything in the picture
looks plausibly "old." It's even harder to recognize a particular symbolic
item that the painter includes to make a statement about the sitter but is
not something the sitter would ever have worn in life. There's a lot of
artistic "code" out there, more developed in some periods of portraiture
than others.

> I feel it is dangerous and misleading to generalise about portraiture
> and artist's methods as much as it is to do so about garment
> construction.

Exactly my point.  It's important not to graft the values and artistic
approaches of one period onto another because it's all "portraiture."  
Purposes of portraits varied extensively over the centuries.

--Robin


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Ahh...  I can see it now.  A lovely caul to cover your hair, a feather Pizza
hat (Ilaria will have to help with that one) and a puffed and slashed bumble
bee Cranach style.  All we will need is to find someone to donate a nice
"used" head for you to be Judith :-)

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Cynthia J Ley
> Sent: Monday, November 03, 2003 2:36 PM
> To: h-costume@indra.com
> Cc: Cley@juno.com
> Subject: Re: [h-cost] hair
>
>
> Hi everyone.
>
> > Regarding traction alopecia:
> > > A sort of 'which came first, the baldness or the hennin?'
>
>
> Kat writes:
>
> > I don't think we'll ever know for sure how it started. However, I
> > suspect that one of the reasons for the changes to a more and more
> > extreme look is that form followed function.
>
> I'd heard that the hennin style may have been a fashion result of the
> Plague--many of those who survived suffered hair loss. Is this a medieval
> urban myth?
>
> One of these days I promise to let Regina talk me into dressing medieval
> German. My genetic heritage really shows, but I so love English
> history..... ;)
>
> Arlys
>
>
>
>
>


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From: "Wanda Pease" <wandap@hevanet.com>
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Subject: RE: [h-cost] 16th century prayer books
Date: Mon, 3 Nov 2003 22:27:48 -0800
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Rima,

	A true slit your wrists/sell your firstborn child moment.

Regina

> OK, HURT ME!
> 
> About 15 years ago, I was in a very reputable antique book store in 
> NY, and actually held in my hand a book of hours that was purported 
> to belong to Elizabeth.   They wanted something like $900 for it.
> 
> About 4X5 inches, light color leather cover, tooling with remnants of 
> gold leaf... in pretty good condition for such an old book. 
> Naturally, I didn't dare open it without gloves.......
> 
> That was $900 I didn't have in my life at the time, so I was forced 
> to put it down (weeping...)
> 
> If, in your travels, you come across such a book, LET ME KNOW.   I 
> won't make that same mistake again!
> 
> Rima
> *sniffle*

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Subject: [h-cost] 
	Re: Primary? Secondary? (was: On the Subject of Documentation)
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I’m sorry if the following is a little rambly, but I’m fighting a bug, and 
so am a bit distracted.

From: Robin

>Um, just in case that wasn't clear -- I wouldn't argue (or expect anyone
>to argue) that a photo of an artwork is the same as the original. But for
>most of us who deal with vast numbers of, say, manuscript paintings as
>examples, it's expected that we're usually working from reproductions as
>we compare and classify various works. In particular cases it may become
>important for us to examine the original artwork; there's always the risk
>that the particular reproduction I use might be missing some nuances of
>shading or brushstroke or coloring that might reveal a telling detail…

I don’t have a problem with this.  I think the difficulties with the terms  
are based on what’s being studied and why.  For example, to remove this from 
clothing for an instant, when this topic has arisen on other lists and 
newsgroups I’ve been in, the question has come up about things like 
translations and transcriptions of documentary sources.  If I use, say, a 
transcription of a medieval document found in a reputable source such as the 
Early English Text Society volumes – is that a primary source?  I’d say not, 
since in transcribing a document, there may be areas where the transcriber 
has had to make some decisions about a word or a letter used.  By the same 
token a translation is certainly not a primary source, since I am dealing 
with the translator’s interpretation of the content.

>…need to know. And because I'm basing my interpretation, in such a case, on 
>the content of the painting itself, no historian would say that the
>painting is a primary source if I stand in front of it but suddenly
>becomes a secondary source if I work from a photographic reproduction.

Even though content is lost in the photographic process.

>I were working from someone's *drawing* of the painting, *that's* a
>secondary source. In the same way, I can work from a microfiche of a
>manuscript, and I'm still dealing with the content of the manuscript
>itself -- the words on the paper -- and it's still a primary source even
>if I've never touched the original pages.

I think it would be debatable – there are still details that can be lost in 
the photographic process, more so when the colors are lost in the black and 
white reproduction of the fiche.   For example, in back tracking  one of the 
shoe drawings from Fairholt I wound up looking at black and white photos, 
then later a color facsimile of the manuscript in question (Cott. MS Nero C 
IV) and that gave me a clue as to why the shoe was drawn a particular way 
that only showed up in the color reproduction of folio 3.  I can only wonder 
what other details didn’t even make it into that reproduction, and would 
need to examine the original to discover (which is what Fairholt based his 
drawing on).  I consider those reproductions secondary sources because of 
this.

>>This is why back-tracking sources is such a big thing for me, the
>>closer I can get to the original items the better.  I've seen far too
>>many cases where a painting or engraving leaves out crucial details
>>that an actual garment might indicate.  A painting is a description of
>>an original, not the original itself.
>Hmm. I think we're bringing in a whole 'nother issue here. It sounds like
>you're assuming we're talking about studying some "original" -- say, a
>specific person's real garment -- that's being depicted in a painting.

But isn’t that what we are doing?  You may have noticed the arguments that 
the artists are painting what they are seeing, which is why those paintings 
are as good as photographs?  The assumption seems to be that those paintings 
are OF real garments.   Certainly, if all you are doing is looking at the 
fashion concepts, then sure, paintings are great.  How many times though 
have you seen someone talking about reproducing a specific garment from a 
particular painting as though that garment were a real garment, as depicted 
in such a painting.?

>Here's where I think we really are seeing a difference between archaeology
>(or material culture) and, say, social history (which is probably a better
>general classification for "history of dress" as I study it). A painting
>from the period gives me original, primary information about what a
>fashion means to some of the people who had first-hand acquaintance with
>that fashion…

And from that perspective, I don’t have a problem looking at paintings as 
being equivalent to, say, a Roll or an inventory.  Because in that case you 
aren’t looking at A painting or manuscript, you are looking at a number of 
paintings to find corroborations between them.  That’s a completely 
appropriate use for paintings as “primary” sources.

>…an individual garment; I'm studying the fashion as a whole. So what we're
>getting here is a visual description of how clothing of this general style
>behaves in wear, presented by someone who has seen (and likely worn)
>clothing of this style in life.

That’s what you are getting at :)   I daresay (based on my subjective 
observations of how and where these discussions crop up) that most of the 
folks who are researching historical garments are seeing those paintings as 
representations of (once) extant garments.  And I believe it is from this 
perspective that descriptions of “Sources” such as appear on Cynthia’s page 
(and even messages I’ve written in the past) have come about.

>Engravings may be another matter. An engraving (or woodcut) that's made
>in the period of the fashion I'm studying is, for my purposes, as much of a
>work of art as any other artwork in any other medium from the same period:

Absolutely.  Although I was really referring to things like memorial 
brasses.

>Of course art works may leave out crucial details that an actual garment
>might indicate. At the same time, garments leave out crucial information
>about social context, economics, outfit combinations, manner of wear, etc.
>that paintings (and documents and other sources) will indicate. As an
>historian of dress, I need *all* that information to make sense of what
>was happening. And all of it ranks as primary for this kind of study.

And I don’t have a problem with that.

>I agree that this is likely. If that's so, it would make a lot of sense
>out of the two sets of definitions we're hearing on this thread. (And I've
>never had training in archaeology, so I would not have recognized the
>different treatment of these terms as used by archaeologists.)

This is a long standing difficulty in interdisciplinary use of jargon :)

>So as to which definition to use, the question then becomes, what sort of
>research is an individual doing? This issue on this thread came out of the
>question of "what counts as a primary source for documentation." I guess
>to answer that, we have to determine what exactly someone is documenting.
>Perhaps for purposes of documenting a reconstruction of a known extant
>garment, the "archaeological" set of definitions is the right one, and
>anything less than the actual garment is a secondary source. This gets
>more troublesome, though, when you're documenting a *hypothesized* 
> >garment…

Yup.   For example, I find your theories on the Gothic Fitted Dress to be 
valid and well supported.  But until we find some extant garments that match 
your hypothesis, your reconstruction is speculative (a term I do not use in 
a derogatory manner).  By the same token, the book I’m working on currently 
is (hopefully) focusing on the evolution of a process (shoemaking in the 
Middle Ages) as presented by the archaeology, experimental reconstructions, 
and the very limited source materials such as literature and artwork – in 
that order.  While there will be some speculation, mostly this will be with 
regard to procedures that are not documented from the Middle Ages, but are 
traditional in shoemaking, and they will be described as “speculative” and 
“traditional”.   While I am planning on covering some of the social context, 
the record is far too sparse to go too deeply into that.

>Thanks, Marc, for clarifying my hunch that there might be a difference in
>definitions of terminology in different fields -- one materials-based, one
>events-based. Since both avenues overlap a lot in dress history, I expect
>I will find this a useful thing to be aware of as I deal with people who
>come from one direction or another.

My pleasure.  I don’t think that either definition is “wrong”, they are just 
different.

>For more practical purposes, it doesn't really matter what you call your
>sources -- primary, secondary, tertiary, etc. What matters is that you get
>as close as you can to the original material, and that you learn how to
>recognize and compensate for the inherent inaccuracies in *every* type of
>source.

Yes please.

Marc

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Thanks for the advance notice!!!  Nice site - costumes (garb??) look 
very good from this distance but the plot sounds a bit melodramatic!!! 
But, Colin Firth as Vermeer has got _my_ attention.

Theresa Eacker

Rima wrote:
> 
> Speaking of paintings, movies, and such,  have you guys seen the 
> trailers for this??????
> 
> OHMIGOD
> 
> Rima
> http://www.girlwithapearlearringmovie.com/
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
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Wow, this has been an exciting thread. I think we actually broke some new
ground here, and made some useful connections.

I'll make some very minor observations on your post, with the
understanding that overall, it's clear we agree on the basics -- that the
terminology on "primary sources" is apparently different between different
branches of research, reflecting the differences in the focus and goals of
those branches. But the ultimate takeaway point is the same -- seek
sources as close as you can to your object of research, and recognize that
all sources, regardless of what you call them, have inherent limitations.

Now, some nonessential musings, mostly continuing to define the
differences in the two sets of definitions:

> >...because I'm basing my interpretation, in such a case, on 
> >the content of the painting itself, no historian would say that the
> >painting is a primary source if I stand in front of it but suddenly
> >becomes a secondary source if I work from a photographic reproduction.
> 
> Even though content is lost in the photographic process.

But there has not been another level of interpretation added, as there
would be with, say, a drawing that has gone through another scholar's
hands. I'm still examining and citing the *painting* as my source, and the
painting itself remains the primary source; its status is not changed if I
make a bad choice in how I view it. Even standing in front of the
painting, I could create as much error by forgetting to take off my
sunglasses when I look at it; in either case, the mechanical creation of
error in the viewing process doesn't change the painting's own status as a
source -- it just changes the accuracy of my interpretation.

I can certainly introduce errors in my own work by using a bad
reproduction of the painting on which to base my interpretations, or
relying on a reproduction for things that are best seen in person.  So
it's my responsibility to minimize the potential for misunderstanding (on
my part) as much as possible. Sometimes that means it's necessary to see
the real thing (e.g. if I'm trying to distinguish painted seams from
surface cracks or analyze use of colors). Sometimes the risk of error in
using a reproduction is minimal to nonexistent (e.g. if I'm comparing
figure placement in various compositions).

I guess I see the difference created by the photographic process as a
mechanical loss of quality more than an interpretive loss of *content* --
the act of photographing does not move figures around or change their
posture, for instance. A redrawing can. The "traditional" definition of
"secondary source" involves an added level of interpretation, not just an
added level of separation. Cynthia, in her article, used the term "primary
source once removed" to describe a noninterpretive level of separation,
which I hadn't heard before, but I think captures the distinction better.
Using "secondary" to mean any step of removal, without considering the
matter of introduced interpretation, loses a nuance that's important for
the set of definitions as used in my end of the field.

All of this is a minor matter next to the larger issue of whether a
painting itself can be considered a "primary source" in the study of
costume, which I think we've determined depends on the nature of the
study.

> For example, in back tracking one of the shoe drawings from Fairholt I
> wound up looking at black and white photos, then later a color
> facsimile of the manuscript in question (Cott. MS Nero C IV) and that
> gave me a clue as to why the shoe was drawn a particular way that only
> showed up in the color reproduction of folio 3.  I can only wonder
> what other details didn’t even make it into that reproduction, and
> would need to examine the original to discover (which is what Fairholt
> based his drawing on).  I consider those reproductions secondary
> sources because of this.

And I'd consider the manuscript a primary source, and the b/w image a poor
way to view the primary source, but not a secondary source in itself. Back
to that "primary source once removed" status.

BTW, in case this affects your research: I seriously doubt Fairholt based
his drawing on the original manuscript itself. He created the vast
majority of his images by copying from other books, including Strutt's and
Planche's previous works on costume as well as various antiquarian studies
of artifacts, prints/engravings of artworks, etc. I've tracked some of his
specific changes as originating with intermediaries' errors. He also added
a sizable amount of "fixing" of his own (and says so in his preface, where
he explains that "glaring errors of drawing may be corrected." He had
some interesting definitions of "glaring errors" and "correction").

> >>This is why back-tracking sources is such a big thing for me, the
> >>closer I can get to the original items the better.  I've seen far too
> >>many cases where a painting or engraving leaves out crucial details
> >>that an actual garment might indicate.  A painting is a description of
> >>an original, not the original itself.

> >Hmm. I think we're bringing in a whole 'nother issue here. It sounds like
> >you're assuming we're talking about studying some "original" -- say, a
> >specific person's real garment -- that's being depicted in a painting.
> 
> But isn’t that what we are doing?  You may have noticed the arguments
> that the artists are painting what they are seeing, which is why those
> paintings are as good as photographs?  The assumption seems to be that
> those paintings are OF real garments.  Certainly, if all you are doing
> is looking at the fashion concepts, then sure, paintings are great.  
> How many times though have you seen someone talking about reproducing
> a specific garment from a particular painting as though that garment
> were a real garment, as depicted in such a painting.?

Yes, I've seen that, but that's not *my* assumption, and I personally
don't think it's a theoretically sound way to approach reproduction of
costume from pictures, except in cases where we have reason to believe
that a specific pictured garment really did exist as shown (e.g. a
portrait backed up with inventory references, in which case you'd use the
combination of both sources in making your decisions on the reproduction).
I hadn't much thought of this distinction before, though, save to
recognize it as an approach common among re-enactors, who are often
looking at historic images for the express purpose of finding something to
wear -- they see an image and say "I want to make that gown," and that
focuses them in on the concrete interpretation of the image as a
representation of an assumed artifact.

Alas, this is often flawed reasoning, because it ignores such factors as
symbolism and artistic purpose in the image, which can influence the
presentation of the garment. I warn about that sometimes in my lectures,
that most images shouldn't be assumed to be journalistic records of
specific extant garments. But they can often be used to document what you
adeptly call "fashion concepts."

(Before anyone misreads the above, please note that I'm not saying that
all images are unreliable. Sometimes the images *are* quite realistic, or
elements of them are realistic, and you can use them to draw reasonably
solid conclusions about construction details or silhouette or drape or
whatever, but there are a lot of factors to weigh before you reach that
conclusion, and you can't use all the elements of the image
indiscriminately. I use art all the time as evidence for practical matters
of clothing, but I take a lot of care in doing so, by considering the
context and purpose of the image, the artistic school, the limitations of
the medium, etc. and how these things may influence the depiction of
costume.  I'm sure I miss a lot of significant points and misinterpret
some things, but at least I am catching a lot of things now that I
wouldn't have understood 10 or 20 years ago, so I know it makes a
difference. I also spend a lot of time looking at large quantities of
examples to identify trends and to define norms and outliers, which is
very different from zeroing on a single image.)

In seeing this conceptual difference right now -- between viewing a
painting as documentation of an artifact, or as documentation of a
"fashion concept," it occurs to me that in my own research, I really am
studying dress history as a sort of "historical event" -- something that
develops over time and is deeply entwined with its historical and cultural
context. So it makes sense that the terms of traditional history, which
defines "primary" and "secondary" sources in terms of representation of
events, would apply to my work more than to that of someone who is taking
the approach of studying an object.

Which brings us to agreement:

> That’s what you are getting at :)  I daresay (based on my subjective
> observations of how and where these discussions crop up) that most of
> the folks who are researching historical garments are seeing those
> paintings as representations of (once) extant garments.  And I believe
> it is from this perspective that descriptions of “Sources” such as
> appear on Cynthia’s page (and even messages I’ve written in the past)
> have come about.

<engravings> 
> Absolutely.  Although I was really referring to things like memorial 
> brasses.

One of my favorite classes of sources -- full of minefields, full of
rewards, and it's taken me years of specialized study to appreciate both
angles.

> For example, I find your theories on the Gothic Fitted Dress to be 
> valid and well supported.

No pun intended, of course ;-)

--Robin



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Robin Netherton wrote:
> Cynthia, in her article, used the term "primary
> source once removed" to describe a noninterpretive level of separation,
> which I hadn't heard before, but I think captures the distinction better.

<bows> I made the term up.

> In seeing this conceptual difference right now -- between viewing a
> painting as documentation of an artifact, or as documentation of a
> "fashion concept,"

Ah!  But you see, if what is important to you is the social meaning of 
something, then your primary source is the painting/manuscript image, 
because the artist added his opinion into the mix when he painted it, by 
his choice of positioning, color, etc.  Because you're not looking at 
the garments per se, you're more like someone looking at the art of 
portrature -- for which a painted portrait *is* a primary source.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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Subject: Re: [h-cost] Girl with a Pearl Earring
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>> http://www.girlwithapearlearringmovie.com/
I have a 1.5' x 2' poster of this painting 
<http://cgfa.sunsite.dk/vermeer/p-vermee14.htm>.  It looks like a dished 
brass earring to me, not a [marine] pearl.  But if that's what Vermeer 
called it, then I must be mistaken.  The art historians think it's an 
actual pearl:

http://girl-with-a-pearl-earring.20m.com/Girl_with_a_Pearl%20Earring_The_Pearl.htm

cv
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From: Purple Elephant <Lady_Angharad@bigpond.com>
Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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> On Mon, 3 Nov 2003, Purple Elephant wrote:
>
>
> But the point here -- which Kat remembers correctly from our conversation
> about this -- is that in the period, you very likely *wouldn't* have been
> trying to wear that style at all -- not for class reasons, but for
> regional ones. In the modern Western world, particularly in the U.S.,
> we're used to seeing a wide combination and variation of facial/body
> types. But regional "looks" were much more homogeneous in medieval Europe.
> Think of hair and skin color, for instance -- in some regions, nearly
> everone is fair, and in other reasons, essentially everyone is dark.
>
But I'm not American, or Australian. Or from any other sort of melting pot.
I'm English, and pretty much
English all the way back (alright, so with a teensy bit of Irish) and
I look very English. Maybe that's why hennins were only popular
for such a brief period in England, as opposed to in France
and Flanders. Interestingly enough I was wearing my English
hood (a la Jane Seymour) once and someone told me I had
the right sort of face to carry it off. I also do well in those
columnar braids that were so popular in the 14th century.

Claire

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Subject: Re: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
	Documentation)
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I once had a student who argued that microfilm of, say, a period newspaper is 
not a primary source.  I guess that, technically, that is true, but what are 
the odds of my ever being able to put my hands on the originals?  Even 
microfilm can be hard to find, as I learned to my dismay when I was trying to find 
War of 1812 era New Orleans newspapers at the Library of Congress. 
Ann Wass
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Subject: Re: [h-cost] has anyone seen this book?
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I agree, it's a wonderful book.  And this ties in to the whole discussion of 
primary vs secondary sources.  Certainly this book is a secondary source; 
however, one should not dismiss secondary sources like this.  The possibility of 
our getting to examine many of these items up close, and taking such wonderful 
photographs for future reference, are very slim. 
Ann Wass
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That reminds me of one of the best compliments I ever received...
         "My God, you look like you just stepped out of a Brueghel"

<giggle>
Bridgette


>All this reminds me of one of the best compliments I ever recieved.  I was
>showing someone at work various pictures from Celtic festivals and Ren
>Faires I had been to.  So they saw me in a range of outfits from great kilt,
>viking pants and t-tunic, to fitted Italian style doublet.  The person
>remarked "You know what?  You have the perfect face and hair for this.  No
>matter which outfit you are in, you look like that's what you should be
>wearing."  After years of being teased in high school for having long hair
>and glasses (typical nerd) I was shocked.
>
>Bjorn Arnaldsson


Mari Stewart
Cornell University


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AHA!   I have spotted a difference in procedure...  In AEthelmearc,  and 
Atlantia (when I was there)  I never have seen /done an oral segment to the 
presentation.    Where are you that this is practiced?     Bridgette

>  You're not. Not even close. :) Time can be a huge factor. Some people
>prefer to read after oral presentations too.
>
>Arlys

Mari Stewart
Cornell University


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Dawn.
You simply must have this book. High resolution colour pages after pages of
wonderfull closeup details of exquisite costumes. Lots of information and
lots of inspiration for you.
You simply must have it!

Bjarne


----- Original Message -----
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 04, 2003 5:32 AM
Subject: [h-cost] has anyone seen this book?


> _Historical Fashion in Detail: the 17th and 18th Centuries_ by Avril
> Hart, Susan North.
>
>
http://www.amazon.co.uk/exec/obidos/ASIN/1851772588/thecostumersmani/026-745
4127-4038009#product-details
>
>
> Just curious to see if anybody has comments about it. It might go on my
> wish list.
>
>
>
> Dawn
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Primary? Secondary? (was: On the Subject of
 Documentation)
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On Tue, 4 Nov 2003, Cynthia Virtue wrote:

> > In seeing this conceptual difference right now -- between viewing a
> > painting as documentation of an artifact, or as documentation of a
> > "fashion concept,"
> 
> Ah!  But you see, if what is important to you is the social meaning of
> something, then your primary source is the painting/manuscript image,
> because the artist added his opinion into the mix when he painted it,
> by his choice of positioning, color, etc.  Because you're not looking
> at the garments per se, you're more like someone looking at the art of
> portrature -- for which a painted portrait *is* a primary source.

True to a point, but that's incomplete and limiting. In researching the
development of a fashion, the social meaning of the fashion is just *one*
element of the mix. So are the economic factors in its production, and the
materials and techniques available, and the class distinctions in its
wear, and -- yes -- the way it's made. It's all rolled in together. And in
order to study the many factors that all go into a fashion, I have to look
at many types of available sources -- including artifacts, which
presumably *don't* display opinion in the same way you describe above.
This is why the more general definitions of traditional history study are
applicable for "history of dress" as opposed to "reproduction of a single
specific item." The more general definitions allow for the fact that each
source will have something different to contribute, and that it's up to
the researcher to sift out what parts of that information are valid
evidence for specific conclusions.

So the painting may tell me something about the artist's opinion, which is
useful for the social aspects. Interpreted carefully, it can also tell me
many things about silhouette and construction, which have less to do with
the artist's opinion and more with his lucky vantage point as a
contemporary witness to the "event" I am studying. It is the latter
attribute -- artist as on-the-spot reporter -- that is crucial to the
painting's definition as a primary source, in my end of the field.

The distinction between historical study of a fashion and reproduction of
a garment comes up in my lectures, though not in those words exactly. One
of the things I explain in many of my talks is that I'm not there to give
a how-to class on making a style; I'm there to give them background and
context on why the style looks that way, who would have worn it, and what
it meant in its time period. The people I teach can then apply this
information in their own study, and I do think (hope) it helps broaden and
deepen their understanding of a garment and inform their choices in
construction. At the very least, it gives them a glimpse into some of the
broader issues of the field.

Given what I know of how deeply entwined clothing is with its
social/economic/aesthetic context, I have to see the approach of focusing
just on "how is it made" as not particularly scholarly or comprehensive.
And that's fine for most re-enactment work, where the point is to produce
an artifact suitable for wear. This is something that's much harder to
explain when someone submits a proposal to me for a paper they'd like to
give at the Medieval Congress that's essentially their documentation of
their garb -- it boils down to "how I made this outfit" or maybe "what a
person of this period would have worn."  Often the garb in question is
extremely fine work in craftsmanship and reproduction, but this sort of
project is not the same as an academic paper that takes an original
research question and analyzes it with the available evidence from the
period.

Personally, I'd like to think that someone who takes the more complete
avenue of research also comes up with a better reproduction product,
partly because they have more understanding of how to make the many
choices that go into the creation of the outfit, and also because they
have a better understanding of how to "read" the artwork and documents
that they base their choices on. But that's my bias as a researcher. I'm
not doing re-enactment, and I do a very limited amount of reproduction
work (and all of that in the context of more comprehensive study). There
are so many research questions to explore *beyond* the question of "how
was it made"! (A large part of my work has focused on determining what
elements of images of clothing are symbolic rather than realistic, which
requires an understanding of how real clothing is made as well as what
artists are trying to accomplish. I sometiems tell people I specialize in
"clothing that didn't exist.")

In any case, I'll try to withhold my opinion from now on regarding how SCA
people should define "primary source" for purposes of documentation. I can
see this is not an area where there can be a meeting of minds, but at
least both of the proposed schema have justification in more traditional
academic parlance. Though I do see that it will probably continue to be a
headache for people who want consistent terminology; I would guess that
entries even within a given contest may vary between the concrete
"reproduction of a (real or hyphothesized) artifact" and the more complex
"reproduction of a non-surviving style based on an analysis of economic
and social factors combined with visual and textual evidence."  More to
the point, I'd predict that there will always be confusion among the
various members who come to the SCA from different academic backgrounds,
who have learned different definitions for these terms -- "What do you
mean that's not a primary source? Of course it's a primary source!"

Which, I think, is how we got into this discussion in the first place.

--Robin

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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Facial and body types & costume
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Ha! Allison!  I didn't realize it was you until I reread my message.
Let's see, now that I have a picture in my mind:

Spanish 16th c would work with your coloring, definitely. But I think your
body type would look best in drapier styles that hang from the shoulders,
perhaps earlier period Greek or Roman...or Byzantine!  Yes, I think
Byzantine would be perfect for you. Plus, cool concealing headwear.

Drea

>
> On Mon, 3 Nov 2003, A.Thurman wrote:
>
> > Been reading this thread with interest. I think y'all may have hit the nail
> > on the head regarding regional/national body types informing regional
> > styles.
> >
> > Try as I might, I love Tudor and Elizabethan but don't think it looks right
> > on me, mostly because I am far too dark for the "ideal" seen in portraits. I
> > wear sunscreen every day, but have an olive complexion and very angular
> > features, possibly from some Native American in my background (the rest of
> > my heritage is mostly English/Scottish).
> >
> > Not like I'm going to drop 16 century styles (hey, I'm sure there were
> > swarthy girls somewhere wearing stays and farthingales!), but I'm curious:
> > what would y'all suggest for someone who is all shoulders/bust with no hips
> > or waist and an olive complexion and angular face (my hair is anachronistic
> > for all historic time periods - I rely on hats or wigs).
> >
> > Allison T.
> >
> > _______________________________________________
> > 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] Girl with a Pearl Earring
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Scrumdillyicious!  I've read the book. It will be interesting to see how
the movie interprets it.

Plus, Colin Firth as intense, creative genius in yummy costume = WANT.

Yowsa.

Drea

On Mon, 3 Nov 2003, Theresa Eacker wrote:

> Thanks for the advance notice!!!  Nice site - costumes (garb??) look
> very good from this distance but the plot sounds a bit melodramatic!!!
> But, Colin Firth as Vermeer has got _my_ attention.
>
> Theresa Eacker
>
> Rima wrote:
> >
> > Speaking of paintings, movies, and such,  have you guys seen the
> > trailers for this??????
> >
> > OHMIGOD
> >
> > Rima
> > http://www.girlwithapearlearringmovie.com/
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>
> _______________________________________________
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Robin Netherton wrote:
 > I'd predict that there will always be confusion among the
> various members who come to the SCA from different academic backgrounds,
> who have learned different definitions for these terms -- "What do you
> mean that's not a primary source? Of course it's a primary source!"
> 
> Which, I think, is how we got into this discussion in the first place.

Right.  I think when I get around to rewriting my page about it,  I'll 
stress even more that a good source is what is desired, rather than a 
source with primary/secondary/whatever labels on it.  Perhaps that will 
help some arrive at a meeting of minds rather than an argument about terms.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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Kat wrote:
<<Some national groups want to be practically nose to nose with you, 
while others want even more distance than an American would want. 
Even within the US there are marked regional differences in this.>>

I learned this the hard way when I was going to college in Japan.  On
the buses and trains during rush hour, personal space is simply not to
be had.  I went there understanding that.  I didn't expect to have leg
room or space to turn around.  And I think that the fact that I'm tall
and therefore could see over most people's heads in the car helped me
feel not so claustrophobic at least.  But when people stepped on my feet
or tripped into me, I still found myself expecting an apology.  We were
all packed like sardines in a can, but if someone causes you pain,
something soothing should be said even if it was circumstance and not
their fault.

Kass

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Did you see the latest TI (just came out)? There's a great article in
there on constructing a Herjolfnes hood.

And I got happily published too, just not on costuming. ;)

Arlys

On Mon, 3 Nov 2003 21:23:53 -0500 "Megan M." <megan@benchite.com> writes:
> Wow.  Thanks everyone for the pointers.  Now to go look up some 
> German
> stuff.  I have Drea's Flemish book somewhere (moved this summer) so 
> I can go
> to that with the hope I would look OK in it.  And I'm doing 
> Herjolfnes-style
> stuff for camping/hot weather wear anyway, so that's great. I just 
> love this
> list!!  So many interesting discussions!
> -Megan
> 
> 
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With all this discussion of paintings, another two bits' worth:

be very careful of paintings shown in books. Sometimes these are not
reproduced as the originals.  The obvious problem is that of the colors,
but you can also find censured versions of some artworks. One such case
is a winter scene from the Duc de Berry's _Tres Riches Heures_: a lady
and two men are warming themselves inside a hut, seated on a bench. The
men are sitting with their legs sprawled and are obviously not wearing
undergarments. 

Needless to say, some editors edit that detail out. 

Arlys


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Drea Leed wrote:
> You may be able to pull off Slavic or Russian pretty well. I know the
> Saami of Finland and through them many Finns and Scandinavians in general
> share some genetic similarities with other polar American Indian groups.
> Perhaps Mongolian, or some other central asian people? Or Greek?
> Drea


Hi Drea,
    By any chance do you have any suggestions (books or 
links) for Saami clothing?

	-Judy Mitchell

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I love this discussion!  My two great loves... anthropology and 
costuming combined!  ;)

Anyway, I just wanted to say that there is a darn good reason why I am 
so attracted to late Tudor and early Elizabethan: Every Holbein 
portrait I've ever seen looks like it could be of someone in my family. 
  I jokingly call myself a 16th century supermodel.

As for looking like I've stepped out of a painting:
http://www.modehistorique.com/images/sarah4.jpg

(Of course, this is a gag picture.  Jen Thompson overlaid my face into 
the original portrait using her mad Photoshop skillz.  But it still 
shows you that I was born about 450 years too late...)

Sarah
_________________________________________________
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"Those who are willing to sacrifice their basic liberties to assure 
their security deserve neither..."

Benjamin Franklin


On Tuesday, November 4, 2003, at 05:33  AM, M Stewart wrote:

>
> That reminds me of one of the best compliments I ever received...
>         "My God, you look like you just stepped out of a Brueghel"
>
> <giggle>
> Bridgette
>
>
>> All this reminds me of one of the best compliments I ever recieved.  
>> I was
>> showing someone at work various pictures from Celtic festivals and Ren
>> Faires I had been to.  So they saw me in a range of outfits from 
>> great kilt,
>> viking pants and t-tunic, to fitted Italian style doublet.  The person
>> remarked "You know what?  You have the perfect face and hair for 
>> this.  No
>> matter which outfit you are in, you look like that's what you should 
>> be
>> wearing."  After years of being teased in high school for having long 
>> hair
>> and glasses (typical nerd) I was shocked.
>>
>> Bjorn Arnaldsson
>
>
> Mari Stewart
> Cornell University
>
>
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Hi,
Thanks for sending the link to the new movie.
As always i am not sure if this movie will ever come to Denmark, but then i
can hope for a DVD sometime in the spring.
It has ben such a long time since they made another costume drama, so i will
look forwards for this, the costumes looks great!!!

Bjarne from dark Copenhagen, where i spend my holliday in making embroidery
and bobbin lace :-) all days!!!


Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: Re: [h-cost] best compliment... was Facial and body types & costume
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From: Cynthia Virtue <cvirtue+dated+1083514578.27bf56@thibault.org>
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Sarah wrote:
> As for looking like I've stepped out of a painting:
> http://www.modehistorique.com/images/sarah4.jpg
> 
> (Of course, this is a gag picture.  Jen Thompson overlaid my face into 
> the original portrait using her mad Photoshop skillz.  But it still 
> shows you that I was born about 450 years too late...)

Keen!  And that one shows a chin strap on the hat!

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
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*grin*

I think I'm going to stay in the 14th century with
occassional straying into the 15th.  I've got the big
hips, small waist, small bust that seems to be made
for the "gothic slouch."

Plus my hair is evening out in length to make it easy
to make the columnar braids, and I'm following
Cynthia's work on headdresses with great interest.

I'm enjoying this discussion though, to see if any
other styles would suit me.

Angharad ver' Reynulf

5'6", about 135-140 pounds depending on the time of
the month, fair skinned, hazel eyes, waist length fine
dark brown hair--high cheekbones and a more
oval-shaped face with a sharper chin.  I do know a
good portion of my ancestry: 1/4 Norwegian, 37% Welsh,
and then the admixture of English, Scottish, Irish,
"black" Irish, Dutch, Cherokee, Lakota, and then who
knows what else. :-)

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Subject: Re: [h-cost] question ?
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> AHA!   I have spotted a difference in procedure...  In AEthelmearc,  
> and Atlantia (when I was there)  I never have seen /done an oral
segment 
> to the presentation.    Where are you that this is practiced?    
Bridgette

An Tir. Kat and I are practically neighbors. :)

Here, oral presentation along with docs is the norm for A&S competitions.
Even when someone has written a research paper. There are some categories
the judges recieve ahead of time, so that they will have time to study
the work--research and composition are two of them.

So how does AEthelmearc handle presentations? 

Arlys


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Subject: Re: [h-cost] Re: Primary? Secondary? (was: On the Subject of
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Robin writes: 
> So the painting may tell me something about the artist's opinion, 
> which is
> useful for the social aspects. Interpreted carefully, it can also 
> tell me
> many things about silhouette and construction, which have less to do 
> with
> the artist's opinion and more with his lucky vantage point as a
> contemporary witness to the "event" I am studying. It is the latter
> attribute -- artist as on-the-spot reporter -- that is crucial to 
> the
> painting's definition as a primary source, in my end of the field.


This is fascinating! Could you give an example of this kind of
interpretation? what sorts of things you look for?

Arlys

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To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] best compliment... was Facial and body types &
  costume
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That's just perfect!!   you really look the part.   ; >   Bridgette

>I love this discussion!  My two great loves... anthropology and costuming 
>combined!  ;)
>
>Anyway, I just wanted to say that there is a darn good reason why I am so 
>attracted to late Tudor and early Elizabethan: Every Holbein portrait I've 
>ever seen looks like it could be of someone in my family.  I jokingly call 
>myself a 16th century supermodel.
>
>As for looking like I've stepped out of a painting:
>http://www.modehistorique.com/images/sarah4.jpg
>
>(Of course, this is a gag picture.  Jen Thompson overlaid my face into the 
>original portrait using her mad Photoshop skillz.  But it still shows you 
>that I was born about 450 years too late...)
>
>Sarah


Mari Stewart
Cornell University


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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Several years ago, almost twenty now, I was living in Germany with my
military husband.  It didn't matter if I was on post or off, everyone there
thought I was German.  I remember the looks he would get when we walked down
the street pushing the stroller and another on the way.
Of course, I always prefered to wear german clothing and rarely bought
anything from the post exchange.  They just fit better, much easier for me
to find something off the rack there than stateside.
At first everyone insisted it was because of the clothes, so I put on all
american clothing and they still said it looked "german" something about the
way I put it together.

As to family history, my husband was the one with closer blood ties to his
German heritage, while my father was Slovak, both grandparents from the old
country, and my mother's family has a bit of everything, though she looks
most like her german-swiss mother, as I do as well.

Cyn


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From: Robin Netherton <robin@shell.nightowl.net>
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 Documentation)
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On Tue, 4 Nov 2003, Cynthia J Ley wrote:

<interpretation of paintings> 
> This is fascinating! Could you give an example of this kind of
> interpretation? what sorts of things you look for?

Oh, gee, that's a full lecture right there. This sort of stuff
permeates most of what I teach. And that's a really open-ended question
... I could go on for miles.

I'll try to answer shortly, but I have to admit I spent WAY too much time
on h-cost yesterday and I'm paying for it the rest of the week. I have
some work that has to be done before Thursday, so I can then pack up to go
to Boston for a lecture weekend. (Anyone from this list going to be
there?) It might be a week before I have time for another lengthy reply.
But I said that yesterday too...

--Robin



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From: Chris Laning <claning@igc.org>
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In my not-so-humble opinion, a whole lot of the confusion and anguish about primary, secondary, tertiary etc. sources stems from the simple fact that some competitions have rules -- usually graven on stone tablets somewhere -- that require a certain number of references of each type. (I.e. "two primary sources or one primary and two secondary")

I personally think the writers of such rules, however well-intended, should be taken out and, er, nonviolently persuaded (operatic arias at ten paces?). I think such rules cause contestant anguish far above and beyond their intended purpose, simply because it _is_ often difficult for the inexperienced to understand the differences.

I wish such rules could more sensibly say that sources closer to the original items get you more points, and let it go at that. 



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Robin Netherton wrote:
> some work that has to be done before Thursday, so I can then pack up to go
> to Boston for a lecture weekend. (Anyone from this list going to be
> there?)

I'll be there!  I think the organizer said people were coming from 
several states away, too.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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The plot (of the book, at any rate) isn't really that melodramatic, and
is partly based on known facts about Vermeer's family life.

Kate Bunting
Library, University of Derby

>>> theresa@misc.com 11/04/03 07:22am >>>
Thanks for the advance notice!!!  Nice site - costumes (garb??) look 
very good from this distance but the plot sounds a bit melodramatic!!!

But, Colin Firth as Vermeer has got _my_ attention.

Theresa Eacker

Rima wrote:
> 
> Speaking of paintings, movies, and such,  have you guys seen the 
> trailers for this??????
> 
> OHMIGOD
> 
> Rima
> http://www.girlwithapearlearringmovie.com/ 
> _______________________________________________
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From: Robin Netherton
>Wow, this has been an exciting thread. I think we actually broke some new 
>ground here, and made some useful connections.

Always a nice thing when it happens.

>I'll make some very minor observations on your post, with the
>understanding that overall, it's clear we agree on the basics -- that >the 
>terminology on "primary sources" is apparently different between >different 
>branches of research, reflecting the differences in the
>focus and goals of those branches. But the ultimate takeaway point is
>the same – seek sources as close as you can to your object of >research, 
>and recognize that all sources, regardless of what you call them, have 
>inherent limitations.

This is why I ultimately maintain that the definitions aren’t conceptually 
different – it’s just the application that makes them different.

>>becomes a secondary source if I work from a photographic >>reproduction.
>Even though content is lost in the photographic process.
>But there has not been another level of interpretation added, as there 
>would be with, say, a drawing that has gone through another scholar's 
>hands. I'm still examining and citing the *painting* as my source, and the 
>painting itself remains the primary source; its status is not changed if I 
>make a bad choice in how I view it. Even standing in front of the
>painting, I could create as much error by forgetting to take off my 
>sunglasses when I look at it; in either case, the mechanical creation of 
>error in the viewing process doesn't change the painting's own status as a 
>source -- it just changes the accuracy of my interpretation.

And here we hit another focal difference.  Whether the error is mechanical, 
interpretive or whatnot isn’t as relevant as that there IS an error (or 
potential for error).  What caused the error only comes into play if we have 
to figure out how to work around the error.

>surface cracks or analyze use of colors). Sometimes the risk of error >in 
>using a reproduction is minimal to nonexistent (e.g. if I'm >comparing 
>figure placement in various compositions).

Absolutely.  I noticed one of the messages in this thread discussed not 
dismissing secondary sources.  I certainly don’t since much of my work is 
done with sources removed from the original.

>I guess I see the difference created by the photographic process as a
>mechanical loss of quality more than an interpretive loss of *content*

I received in my email this morning a series of 10 photographs of a shoe, 
asking about where and when it might have been worn.  Now the photos are 
good enough quality to give the gentleman an answer.  And while they show 
pretty much all sides, they are not good enough though to allow me to 
reproduce the item if I were so inclined.  Which is too bad since the actual 
construction is very similar to things I’ve seen before, but still 
significantly different.

>The "traditional" definition of "secondary source" involves an added >level 
>of interpretation, not just an added level of separation.

Traditional, huh?  The definition I’ve been using for the past 25 years has 
had to do with potential for loss of information, which is merely simplified 
to levels of separation.

Looking through the various definitions online, I’m not seeing sufficient 
consistency of interpretation to declare a single version “traditional“ :)

>...source once removed" to describe a noninterpretive level of
>separation, which I hadn't heard before, but I think captures the 
>distinction better. Using "secondary" to mean any step of removal, without 
>considering the matter of introduced interpretation, loses a nuance that's 
>important for the set of >definitions as used in my end of the field.

Considering the inconsistency of usage, I doubt that the terms were intended 
to undergo this degree of scrutiny.

>All of this is a minor matter next to the larger issue of whether a
>painting itself can be considered a "primary source" in the study of
>costume, which I think we've determined depends on the nature of the
>study.

While for me, the matter of whether paintings can be considered primary 
sources is dependent to the question of where the line between primary and 
secondary is drawn (and for whom).

>And I'd consider the manuscript a primary source, and the b/w image
>a poor way to view the primary source, but not a secondary source in 
>itself. Back to that "primary source once removed" status.

It’s a nice term, but good luck getting it to catch on :)

>BTW, in case this affects your research: I seriously doubt Fairholt >based 
>his drawing on the original manuscript itself. He created the vast majority 
>of his images by copying from other books, including
>Strutt's and Planche's previous works….

I know, unfortunately Planche is still lost in the mail, and ain’t nobody 
willing to ILL a copy of Strutt’s first edition.

>>…How many times though have you seen someone talking about reproducing a 
>>specific garment from a particular painting as
>>though that garment were a real garment, as depicted in such a
>>painting.?
>Yes, I've seen that, but that's not *my* assumption…

Absolutely – but if we back track through this thread, I suspect it’s an 
underlying assumption to the initial questions.


>Alas, this is often flawed reasoning, because it ignores such factors
>as symbolism and artistic purpose in the image, which can influence
>the presentation of the garment…

Which is why my websites tend to focus on the archaeology only :)

Marc

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Hey Arlys...

I'll use the annual Kingdom blow-out A&S event as the example...  It's 
pretty standard in format.

Large tables,  usually rectangular... not that that matters,  lined against 
a wall.  You plop your stuff down, or arrange it neatly - whichever you 
prefer - then as the judging begins...  the artisans are shooed out of the 
room.   Not only is there not a scheduled opportunity to discuss our work 
with the judges,  there is a disincentive to get to know the judges.   This 
is done to insure a kind of 'blind' scenario where political favoratism or 
partiality is not a factor.   In the hopes that the judge does not know who 
the artisan is.

Now this is not my favorite scenario for displaying my research...   I 
present much better in 3D than on paper.    I would rather interact with 
people,  catch that question as it pops into their head,  rather than 
relying on a pressed-for-time-person to thoroughly read my 
documentation.   Plus - I really feel that my enthusiasm for my research is 
catching...  and when people see me having fun with it - that they too will 
realize that research is not some fuddy-duddy activity for the chronically 
boring.

Now, on occaision - there is an artisans' forum after the judging is 
done.   One year,  the year my co-researchers and I introduced the 
"Medieval Itty Bitty Booklight" ,  we had one of these Forum's.  It was 
great!  We taught and shared our research with -so many- people.
It was a very heady day.  Fun, fun, fun.

But - the forum was not a part of the competition.   Just an 
afterthought,  a very important one in my opinion...  How can you every put 
a person with the work,  or plumb the depth of their knowledge - without 
meeting and talking to them?   So I would love to see AEthelmearc institute 
oral presentations at - at least - one event a year,  preferably at kingdom 
level...   hmmm I think I have a new task.  ; >

Bridgette


>An Tir. Kat and I are practically neighbors. :)
>
>Here, oral presentation along with docs is the norm for A&S competitions.
>Even when someone has written a research paper. There are some categories
>the judges recieve ahead of time, so that they will have time to study
>the work--research and composition are two of them.
>
>So how does AEthelmearc handle presentations?
>
>Arlys

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Subject: Re: [h-cost] RE: Facial and body types & costume
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Ooh, may I play?  <g>  I have lots of ideas for garb in my brain (which I 
don't have the money for as I'm a college student, whee), but of course I'm not 
sure if they'll look good on me.  Hopefully the link below will work.

http://f1.pg.photos.yahoo.com/ph/fragileice/vwp?.dir=/Yahoo!+Photo+Album&.dnm=
yearbookpic.jpg&.view=t 

Mind the wrap.  If the above doesn't work:

http://photos.yahoo.com/fragileice and click on "Yahoo Photo Album".  

Basically, I'm about 5'4" (give or take 1/4"), an RTW size 12 with a 
mostly-hourglass shape.  Need to lose a bit in the gut, but I'm working on that.  I'm 
very pale (I'm darker-skinned in that photo due to makeup and possibly 
re-touching), but the hair and eye-color are fairly accurate, with the exception of 
the fact that my hair has some coppery highlights that show up in sunlight (and 
are an artifact of a boxer named Red Moran on mom's side and everyone on 
dad's side).  As for heritage, I'm Italian, Irish, and English.  Right now my main 
area of study is Elizabethan.  Any suggestions?

Christine
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: Facial and body types & costume
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>
> Hi Drea,
>     By any chance do you have any suggestions (books or
> links) for Saami clothing?

Only "traditional" Saami clothing, which was for the most part a 19th &
20th century formalization of current folkwear. Here's a pic:
 http://w3.tyenet.com/kozlich/edenpic4.htm

and a page about the Saami in general:
http://www.itv.se/boreale/samieng1.htm

I've always been fascinated by the Saami, since I first found out about
them. Apparently there's some Saami blood in our family... we're 3/4
Norwegian and 1/8 Swedish, and I've seen photos of Saami men that
look just eerily my father, uncle & grandmother. I have the same
"apple cheeks" and "squinty eyes" as they do.

It's the music I'm most interested in, though (especially
shamanic jojking), so I haven't looked for costume that much.

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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Re: Primary? Secondary? (was: On the subject of Doc)
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Please forgive the length of this post... lots of
thoughts are swirling around in my head! This has been
a quite interesting discussion, but I don't think that
anyone has been proven 'wrong', for the record. As
stated by some, interpretation and purpose of use
helps decide the definition of 'primary' versus
'secondary'. 

The original context in which I brought up the
differences between these monikers (and that's all
they are in the end -- names, or terms, not
representations of 'truth' in and of themselves) was
in the realm of SCA (or closely-related costume
convention) competition. Someone here (please pardon
me for forgetting exactly who -- I erase my digests
after reading them) stated as a 'mistake' the
presentation of social/historical context as part of
one's documentation set for competition. She appears
to be coming from the viewpoint of sticking to the
known facts about a particular item's physical
attributes for the purpose of reproduction. There is
nothing inherently wrong with this approach for the
purpose of such competitions. It's just one way to
narrow one's focus out of many. 

The SCA is not academia (as those in the SCA are
constantly reminded by those in academia, natch). If
SCA competitions want to challenge people to recreate
extant items or get as close as possible to doing so,
it's entirely reasonable to expect one's documentation
to stick to the physical facts. Sure, on a larger,
academic level, one can miss a huge area of learning
by focusing in this manner. But as an exercise in
physical recreation of something, it is not
technically necessary to understand how the item
evolved, or in what context it was used. I agree it's
limiting not to learn as much as possible around the
context of the item, but I am not the Grand Pooba in
charge of competitions and don't set up the rules. :^D

I personally go ahead and learn all that I can about
social/historical context anyway, as I get as much
enjoyment out of researching the entire shebang as I
do out of researching the physicality of an item. With
that in mind, I'm comfortable drawing the distinction
between a painting as an excellent secondary source
for clothing but a primary source for painting and for
artistic POV. I don't think the two are mutually
exclusive -- that by defining source types in a
hierarchical manner I am limiting my range of
learning. 

I also think this discussion has begun to conflate two
completely different ways to go about studying things.
Robin, you speak often and well of the holistic
approach -- using many varied source types in
combination and with all interpretative caveats in
place to glean a larger understanding of a general
item type (for instance, the Gothic Fitted Dress).
With such an approach, an artist's POV is an important
part of the research, in and of itself, thus making
the painting 'primary' for lots of things playing into
the portrayal of the clothing in it. The non-academic
historical clothing circles, full of fledgling,
untrained (or trained outside of academia),
enthusiastic researchers, has gravitated toward a
methodology by which work is presented along the lines
of focused material item re-creation. With that focus
on the physical item, it's easy to see why a painting
is one big step removed from the item itself. Marc and
a few others have reminded us that within the
archaeological research community this distinction is
apparently also made. 

How do we tell someone attempting to re-create an
exact garment that their study of that garment
in-person is in the same category, source-wise, as
seeing it or a close variation of it in a painting?
We'd have to call the in-person study of extant
clothing "zero-ian" sources, or something. ;^P

Again, I feel compelled to repeat that I'm not saying
such narrow-focused studies of physical items are the
pinnacle of clothing research. I personally like the
'big picture' approach combined with
up-close-and-personal study of items as they become
available. Combining the two ways of study are a
perfect marriage, in my opinion, resulting in the most
learning. Regardless of the semantic quibble we're
having, a good judge in competitions (the origin of
this topic) will know the relative value of sources
cited in someone's documentation, regardless of that
person's labeling of their sources according to
"primary", "secondary", and so on. It's my personal
desire that people care less about something's
official designation as "primary" or "secondary" and
more about how much and what kind of information the
source actually reveals.

In the end, a source needs to be evaluated on its
usefulness alone, and not on it's definition of degree
of removal from the ultimate 'truth' of that item --
we probably all agree on that, I'm hoping. I am
reminded of Plato's theory of forms. In a way, we are
seeking the ultimate 'form' of historical clothing,
and arguing about how far removed something is or
isn't from that form. By Plato's definition, a
physical chair is still not the 'form' of a chair,
which ties into what Robin says about one extant
garment not being the end-all, be-all for that item
type as one might at first hope to believe. If your
area of study is "Item Type B during X time and in Y
place", then one extant example helps, but does not
provide ultimate knowledge of those items. If your
area of study is "Extant Item Type B-145", then that
extant item sure goes a long way toward answering
questions about its physical statistics -- a lot more
than a painting of a similar version of it will do. It
still doesn't answer all questions, though. The "form"
is never fully known, I guess.

Anyway, I've said enough for now and must go attend to
other things. Thanks for listening,

-Tasha

=====
***Updated as of November 1, 2003: Aumônière-mania!***
http://www.cottesimple.com
An exploration of European clothing and accessories from the late 14th/early 15th centuries.

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Drea Leed wrote:
> Only "traditional" Saami clothing, which was for the most part a 19th &
> 20th century formalization of current folkwear. Here's a pic:
>  http://w3.tyenet.com/kozlich/edenpic4.htm
> 
> and a page about the Saami in general:
> http://www.itv.se/boreale/samieng1.htm

	Thanks, I'll add them to my collection. This is the next 
big research project for me, and I'm trying to find info on 
the earlier (pre-rickrack and flower bands) time frame. I've 
got a few pics of more recent, and I was able to examine one 
man's outfit at a heritage festival last September - the 
sleeve seam placement was very peculiar. But I want to make 
sure that styles haven't changed, and looking for pics on 
trim and ribbons before commercial weaving.

> I've always been fascinated by the Saami, since I first found out about
> them. Apparently there's some Saami blood in our family... we're 3/4
> Norwegian and 1/8 Swedish, and I've seen photos of Saami men that
> look just eerily my father, uncle & grandmother. I have the same
> "apple cheeks" and "squinty eyes" as they do.
	Interesting! And you look so wonderful in your Flemish 
outfit as well.


> It's the music I'm most interested in, though (especially
> shamanic jojking), so I haven't looked for costume that much.
	Actually, there is quite a bit available on joiking. I can 
give you some artists if you're interested.

	-Judy

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EIYEEEEE!!!!! 

Ok...just no bumblebees. I look ghastly in yellow. Then again, teal....
:) I think I need to dig out the Medieval Women calendars I saved (and
*shame* on Workman Publishing for discontinuing them!!!).

Some people never use their heads, and would never notice if it were
missing. ;)

Arlys

On Mon, 3 Nov 2003 22:01:14 -0800 "Wanda Pease" <wandap@hevanet.com>
writes:
> Ahh...  I can see it now.  A lovely caul to cover your hair, a 
> feather Pizza
> hat (Ilaria will have to help with that one) and a puffed and 
> slashed bumble
> bee Cranach style.  All we will need is to find someone to donate a 
> nice
> "used" head for you to be Judith :-)
> 
> Regina
> 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Cynthia J Ley
> > Sent: Monday, November 03, 2003 2:36 PM
> > To: h-costume@indra.com
> > Cc: Cley@juno.com
> > Subject: Re: [h-cost] hair
> >
> >
> > Hi everyone.
> >
> > > Regarding traction alopecia:
> > > > A sort of 'which came first, the baldness or the hennin?'
> >
> >
> > Kat writes:
> >
> > > I don't think we'll ever know for sure how it started. However, 
> I
> > > suspect that one of the reasons for the changes to a more and 
> more
> > > extreme look is that form followed function.
> >
> > I'd heard that the hennin style may have been a fashion result of 
> the
> > Plague--many of those who survived suffered hair loss. Is this a 
> medieval
> > urban myth?
> >
> > One of these days I promise to let Regina talk me into dressing 
> medieval
> > German. My genetic heritage really shows, but I so love English
> > history..... ;)
> >
> > Arlys
> >
> >
> >
> >
> >
> 
> 
> _______________________________________________
> 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>
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> But I'm not American, or Australian. Or from any other sort of melting
> pot. I'm English, and pretty much English all the way back (alright,
> so with a teensy bit of Irish) and I look very English. 

Don't assume that because you are English that you are not from a 
"melting pot." When you consider all the influences to England over 
the centuries you come to realize that it is not as homogenous as you 
might think. For example, you could have both Pict (short, dark) and 
Scandinavian (tall, blond) blood. 

And there was a lot more migration of people from other places who 
ended up in England (such as the influx of Jews in various periods 
and their trying to inculturate so as to be "safer" which sometimes 
included hiding their religious origins and intermarrying, thus 
bringing in mediterranean and Eastern European blood) and all the 
people in trade or conquest who emigrated to England in the past 
centuries (the Germanic tribes for instance.) And how about slave 
influxes. (You see a surprising number of what we in the US call 
"Afro-Americans" in London and on your telly.)

And in the future, England will be even more of a melting pot than it 
has been. The policies on immigration and influx from the former 
colonies has lead to large populations of people of Indian, Eastern 
and Middle Eastern descent.

So, even if *you* look English, you might still have a lot more 
"melting" than you might know about.

Maybe that's
> why hennins were only popular for such a brief period in England, as
> opposed to in France and Flanders. Interestingly enough I was wearing
> my English hood (a la Jane Seymour) once and someone told me I had the
> right sort of face to carry it off. I also do well in those columnar
> braids that were so popular in the 14th century.

My descent is 3/4 Scottish and 1/4 Swedish. Yet, I "look" English 
enough that when I was in London for a month, I was frequently 
thought by the people (locals, not tourists) there to be English 
(until I opened my mouth, of course.) I've seen photographs of me in 
Tudor which make me look like I'm straight out of a Holbein. Yet, I 
have an amazingly high forehead and high cheekbones which also makes 
me look like I could be a Burgundian lady (although there's no one in 
the family tree who came from the continent except for a single 
"Pennsylvania Dutch", ie German, lady who married into the family and 
whose kids kept marrying Scottish people after that.)

My point is that I don't believe that the genetics of France and the 
adjoining areas was sufficiently different from that of England for 
someone of English descent to look worse in a Burgundian hennin than 
for a Burgundian.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] best compliment... was Facial and body types & costume
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Sarah wrote:
> As for looking like I've stepped out of a painting:
> http://www.modehistorique.com/images/sarah4.jpg
>
> (Of course, this is a gag picture.  Jen Thompson overlaid my face into 
> the original portrait using her mad Photoshop skillz.  But it still 
> shows you that I was born about 450 years too late...)

Jen did my face with a portrait by Anthonis Mor.  You can see it at 
http://elizabethangeek.com/katrowberd/

Do you think Flemish suits me?  I do :)

K.

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> >…need to know. And because I'm basing my interpretation, in such a
> >case, on the content of the painting itself, no historian would say
> >that the painting is a primary source if I stand in front of it but
> >suddenly becomes a secondary source if I work from a photographic
> >reproduction.
> 
> Even though content is lost in the photographic process.
> 
> >I were working from someone's *drawing* of the painting, *that's* a
> >secondary source. In the same way, I can work from a microfiche of a
> >manuscript, and I'm still dealing with the content of the manuscript
> >itself -- the words on the paper -- and it's still a primary source
> >even if I've never touched the original pages.
> 
> I think it would be debatable – there are still details that can be
> lost in the photographic process, more so when the colors are lost in
> the black and white reproduction of the fiche.  

That's why it is helpful to have *both* the redrawing and the picture 
present. I consider the picture to be of more value, but if done well 
it may help you to see a fine detail in the "original" which might 
otherwise be missed.

But without the "original", I consider the redrawing to be tertiary 
at best. Even if the "original" is a painting, it is still something 
done at the time/place under study and won't be influenced by our 
modern biases (only the biases appropriate to that time/place.)

> >…an individual garment; I'm studying the fashion as a whole. So what
> >we're getting here is a visual description of how clothing of this
> >general style behaves in wear, presented by someone who has seen (and
> >likely worn) clothing of this style in life.
> 
> That’s what you are getting at :)   I daresay (based on my subjective
> observations of how and where these discussions crop up) that most of
> the folks who are researching historical garments are seeing those
> paintings as representations of (once) extant garments.  And I believe
> it is from this perspective that descriptions of “Sources” such as
> appear on Cynthia’s page (and even messages I’ve written in the past)
> have come about.

Sometimes they are representative of extant garments and sometimes 
they are "studio" garments or iconography. That's why it's so 
important not to rely on a single source (and, if at all possible, 
not to rely on a single medium like only paintings or only 
manuscripts.)

And it's important to know enough about the time under study to be 
able to tell the difference between iconography and what might have 
been reality.

> Absolutely.  Although I was really referring to things like memorial
> brasses.

If one understands the limitations of a medium like memorial brasses, 
they can still be useful for study. Again, that's why multiple media 
is important.

> Yup.   For example, I find your theories on the Gothic Fitted Dress to
> be valid and well supported.  But until we find some extant garments
> that match your hypothesis, your reconstruction is speculative (a term
> I do not use in a derogatory manner).  By the same token, the book I’m
> working on currently is (hopefully) focusing on the evolution of a
> process (shoemaking in the Middle Ages) as presented by the
> archaeology, experimental reconstructions, and the very limited source
> materials such as literature and artwork – in that order.  While there
> will be some speculation, mostly this will be with regard to
> procedures that are not documented from the Middle Ages, but are
> traditional in shoemaking, and they will be described as “speculative”
> and “traditional”.   While I am planning on covering some of the
> social context, the record is far too sparse to go too deeply into
> that.

But even archeology can lead you astray, especially if you don't know 
the context of the item. Is it grave goods (which might have things 
only present on a dead person because of religious/superstitious 
reasons), felon burial (like several of the bog bodies), accidental 
burial (someone who fell into a swamp or things like the Cheapside 
Hoard) or something like wall finds (which might have 
religious/superstitious reasons.)

Then add to it the distortion which might be caused (especially in 
something like shoes) by the burial itself, by the method which is 
used to restore it, any reconstruction done to it and even the 
distortions made in a pattern by wearing it over a period of time. 
This is true for fabrics which is why Kohler was often sooooo off in 
some of his "patterns.")

> >For more practical purposes, it doesn't really matter what you call
> >your sources -- primary, secondary, tertiary, etc. What matters is
> >that you get as close as you can to the original material, and that
> >you learn how to recognize and compensate for the inherent
> >inaccuracies in *every* type of source.

Amen to that!!!! 

One must learn to evaluate one's sources, no matter how good they 
seem at first. Learn to have a "critical eye" (not critical in the 
sense of negative criticism but in the sense of accurate 
understanding.0

Kat
<kat@redtrollforge.com>



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> > Funny, I was speaking to someone today, a very VERY bright woman
> > with a masters degree in literature, but who wasn't aware of whether
> > or not the sweater she was wearing was knitted or woven.   Just
> > 'cause you drive a car, doesn't mean you know how to build one, or
> > even draw it, even if it's your own, and you're an artist!  ;-D
> 
> 
> That does not relate to whether a Renaissance artist could paint a
> dress accurately. Textiles aren't the be-all and end-all of
> fortune-making industries these days. Not so in the Renaissance.
> Textiles and spices. 

Actually, it can mean just that in the Renaissance. There are well 
known paintings where they have gotten the details very wrong about 
textiles (especially when it comes to things like looms.) Even in 
tapestries (where you would think that they would have a very good 
idea of how to weave) the looms are often missing critical parts, yet 
are very detailed otherwise (so it's not just that they were 
simplifying.) 

Sometimes a craftsman in that period would know *about* something but 
wouldn't know enough to appropriately represent it. And they may have 
seen a textile which they are trying to paint, but don't have it in 
front of them to get all the textures correct.

If you look at multiple paintings coming out of the same workshop 
(I'm thinking of some specific ones, but I can't remember where I saw 
the example), you can see that the master often took more liberties 
in terms of idealistic portrayal than did some of the students 
working from the same models. (It might be in Janet Arnold's 
_Handbook of Costume_ where she discusses this.)

And jewels specifically might be made up. (I believe this was one of 
the reasons that Holbein got into such hot water with Henry VIII over 
his portrayal of Anne of Cleaves.)

Kat
<kat@redtrollforge.com>


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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] RE: Facial and body types & costume
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> 	Actually, there is quite a bit available on joiking. I can
> give you some artists if you're interested.

Sure, that would be cool. I have everything Wimme ever recorded, plus the
swedish folk music boxed set on saami music, but that's about it.

Drea

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> I'd heard that the hennin style may have been a fashion result of the
> Plague--many of those who survived suffered hair loss. Is this a
> medieval urban myth?

Definitely urban myth. The major time of the plague was 14th C and 
the hennins were popular 100 years later (when it had significantly 
died down.)

Also, hennins don't stay on if you don't have enough hair. If you 
lost hair because of the plague, there wouldn't be enough to hold one 
on without glue. Kind of like trying to keep it on a bowling ball. ;)

There's a late 16th or early 17th C portrait of a woman (Scandinavian 
or Northern European) who has a bald head which is the pattern you 
can get from fever. Very elaborate dress and a *big* open neck "ruff" 
with supportasse. 

Kat
<kat@redtrollforge.com>


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I'll bite...what period do people think I am most suited for?  My
favourites, costume-wise, are 1100-1400, but wondering if I have the
face/body for some other era.  

Pale skin, short and slight, with narrow shoulders (kind of bony) small
bust, short waist and full hips.  I have a narrow oval face with very long
dark brown hair.

Pics:  http://images.cosplay.com/showphoto.php?photo=90457
http://sarcasm.fanfic.org/ps-ayumi7s.jpg
http://sarcasm.fanfic.org/ps-ayumi16s.jpg


-- Maral


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Christine wrote:
> Basically, I'm about 5'4" (give or take 1/4"), an RTW size 12 with a 
> mostly-hourglass shape.  Need to lose a bit in the gut, but I'm working on that.  I'm 
> very pale (I'm darker-skinned in that photo due to makeup and possibly 
> re-touching), but the hair and eye-color are fairly accurate, with the exception of 
> the fact that my hair has some coppery highlights that show up in sunlight (and 
> are an artifact of a boxer named Red Moran on mom's side and everyone on 
> dad's side).  As for heritage, I'm Italian, Irish, and English.  Right now my main 
> area of study is Elizabethan.  Any suggestions?

I had some trouble with your URLs, but I ended up just poking around
your photo albums and came to your Elizabethan costume photos.  

Your face reminds me very strongly of a friend who is 100% dutch.  I
think you'd look great in 15th century Flemish.  (Seems like I'm
recommending that to everyone lately.)

K.
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> I'm taking a history course right now and paintings are not considered
> a primary source as the painter may or may not be giving us an
> accurate depiction of clothing.  Paintings are considered excellent
> starting point, but it is a secondary source.  This is true in
> relation to the doctoral dissertation I'm working on.

This is not an uncommon way for academics to look at things. However, 
the same can be said of an extant garment which has had refurbishing 
and/or reconstruction of its parts.

Kat
<kat@redtrollforge.com>


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> But the whole idea of using "primary" and "secondary" to distinguish
> degrees of removal from the artifact, for sources still within the
> same time-place context, just leaves me scratching my head. This
> redefinition of terminology seems to have become pervasive in SCA
> circles among people who really, truly want to promote good use of
> sources. In addition to Cynthia's article and Tasha's post, I see the
> same thing on Kass's site at
> http://www.reconstructinghistory.com/beginners/research.html , under
> "Types of Sources." All three of these ladies known for doing good
> research, and all three seem to have picked up this same set of new
> distinctions, so clearly these ideas are getting a lot of play out
> there in re-enactment circles. I can only guess that this originated
> in a good-faith attempt to teach people to find and use the best
> sources, and somehow developed into a far-too-literal use of the
> conventional terms.

I think that most of this has come from academia and has segued into 
the SCA circles from there.

And the problem with that is that different disciplines consider 
different things to be "primary" which really makes things confusing.

For example, in some disciplines *nothing* that is written (be it a 
will, inventory, letter, legal statute, whatever) is anything better 
than "tertiary". Only pictoral sources count.

In some disciplines, if it isn't written down, it's at best 
"secondary.

Most of the more experienced people I know try more to look at "good 
source vs bad source." For example, I consider most redrawings (that 
is, drawings done in a time outside of the time/place of the 
"artist") to be tertiary. However, some are decidedly better than 
others. For example, I'd take a drawing from one of the CW Cunnington 
books over anything from Wilcox. (The same artist who did the 
drawings when CW was still alive also did them for his wife alone. CW 
obviously forced the artist to be more acccurate than his wife later 
did.) I'd take a drawing done in an archeology article over one done 
by most other artists. Mostly because of the difference between 
"accuracy of portrayal" and "getting the general idea." I don't want 
to use as documentation something that has been synthesized already. 
That to me makes it tertiary. I want it to be as close to the 
original source as possible.

> I would be very interested in hearing from some of the other people on
> the list who work in academic areas. I won't rule out that maybe
> there's been some huge terminology change that I've somehow missed in
> the years that I've been active in the field.

I know that there have been major terminology shifts over time. Even 
in the SCA there have been major shifts. For example, when I started 
even portraiture was acceptable as a "primary" source, but I've heard 
from many people that even a photograph of an extant garment is not 
considered "primary."

> It's also possible that these definitions are specific to the field of
> material culture. Material culture research poses some different
> issues for historical study compared with the "conventional" study of
> history, where the definitions of "primary" and "secondary" sources
> originated.  And perhaps material culture needs a new set of terms to
> cover some of these distinctions that are not so vital for people who
> are studying, say, events. (You can't put your hands on an extant
> event -- so your primary sources are going to be mostly text and
> images.) 

I suspect that this is where it all is coming from and the SCA 
circles just picked it up.

> Even so, I think that the literalmindedness that is leading some
> people to say that only the artifact is "primary"  threatens to
> reinforce the tunnelvision I see in some people who do
> reenactment-based research, who focus strictly on "how is this thing
> made" without ever becoming aware of such issues as "in what social
> context would it have been worn," or "what messages would wearing this
> item have sent to people of the time," or "what are the economic
> factors involved in the choice of techniques and materials." These are
> all vital questions that won't be solved just by examination of an
> artifact; they require use of other primary -- yes, primary -- sources
> from the period, including text and images and other types of
> archaeological evidence. All those pieces of information are necessary
> to create a complete context for "history of dress," and "history of
> dress" covers a darn sight more than "how was it made."

This is soooo true. For how long did archeology have cardweaving 
cards listed as either gaming pieces or religious articles? It takes 
understanding their context to really understand it's use and the 
like. It's very difficult to interpret any source without knowing its 
context.

Kat
<kat@redtrollforge.com>


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From: "Herself-the-Elf" <herself-the-elf@rogers.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
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Status: RO

 Oh yeah, should mention that I'm a mutt.  My father's side is Armenian,
from Turkey via Lebanon, and my mother's side is a mishmash of Irish,
Scottish and Welsh. -.-;; So I'm not sure what on earth that makes me. *lol*

-- Maral


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
 Documentation)
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On Tue, 4 Nov 2003, Marc Carlson wrote:

> >The "traditional" definition of "secondary source" involves an added >level 
> >of interpretation, not just an added level of separation.
> 
> Traditional, huh?  The definition I’ve been using for the past 25
> years has had to do with potential for loss of information, which is
> merely simplified to levels of separation.

Sorry, I was trying to find a shorthand way to distinguish between the two
parallel lines of research approach we've identified. I had the (perhaps
erroneous) sense that the "historic/events" approach was probably older,
and that the terms common to historians took on new meanings when applied
to the "archaeology/materials" approach. I've got a historian's background
and the sense that the terms of historiography are "old," but truth is, I
have no idea which avenue the terms originated with. Do I at least get
Brownie points for putting "traditional" in quotes, knowing that we'd
already established that for my work, I'm referring to the terms as
conventional historians use them as opposed to the way archaeologists use
them?

> Looking through the various definitions online, I’m not seeing sufficient 
> consistency of interpretation to declare a single version “traditional“ :)

Hmm. Did you find *any* online definitions that describe the
level-of-separation distinction that you've described as common in
archaeology, and that Cynthia and others are using for SCA? I didn't see
any in my browse, save for the SCA pages like Kass's.

> >...source once removed" to describe a noninterpretive level of
> >separation, which I hadn't heard before, but I think captures the 
> >distinction better. Using "secondary" to mean any step of removal, without 
> >considering the matter of introduced interpretation, loses a nuance that's 
> >important for the set of >definitions as used in my end of the field.
> 
> Considering the inconsistency of usage, I doubt that the terms were intended 
> to undergo this degree of scrutiny.

Actually, the element of an added level of interpretation -- the filtering
through another person who was not a first-hand witness to the event -- is
part of the definition of "secondary" source in all three definitions on
the Yale site <http://www.library.yale.edu/ref/err/primdefs.htm>. You'll
see the same thing at <http://www.wcsu.ctstateu.edu/library/odlis.html>
(warning! big page!). It's a key part of the distinction of how I learned
the terms.

Here's another example that will probably give some people headaches. As I
mentioned earlier, in the usage I'm accustomed to, a source's status as
primary doesn't change depending on the way I view the source. The
painting is a primary source whether I look at it upside down, through
sunglasses, through the magnifying zoom on my camera lens, or via a
photoreproduction. My research will suffer if I don't view it properly, of
course, but my bad scholarship won't affect the source's status as primary
as long as it represents firsthand experience with the event I'm studying.
So when I cite a painting as an example in a paper, I footnote the
painting; I don't footnote the museum postcard I used to view the
painting.

Now (here's the headache example): Suppose I know that there's an item in
some obscure location I can't get to. I have reproductions, but I can't
view it myself. It's not at all unreasonable for me to call up a friend
who has access to it and say something like, "Lea, can you run up the
street to the church at Long Melford and count how many of the stained
glass donor panels have women in heraldic gowns or mantles? I've got some
pictures in a book here that shows 16 of them, and I know there are 36
original panels remaining that are all consistent in style and made by the
same shop. I just need to know how many of them have heraldic women." Lea,
as it happens, knows quite a bit about heraldry and knows my terms.  I can
use the information she gives me in a paper and cite my source as the
windows in the church, with a word of thanks to my friend Lea. The windows
are a primary source. I had sufficient information (between good
photoreproductions and the mechanical counting by my friend) to feel
secure that I am reporting the information directly from the source; there
was no level of interpretation involved till I got to it. Now, if I asked
Lea to identify the individual donors for me based on their heraldry, I'm
relying on a secondary source -- Lea's interpretation of the primary
source. (Footnote for that reads: "Harris, Lea. Personal communication,
Nov. 3, 2003.") In supplying the information on the windows' manufacture,
I cite a secondary source ("A History of the Church at Long Melford" or
"English Stained Glass Monuments" or whatever). And if someone quotes my
interpretation of what the numbers signify, I'm a secondary source for
them.

How this would work in your field, Marc, I have no idea. I would expect
there are times when you email an expert overseas and ask, "Hey, can you
have a look at shoe find number 257 and tell me if the latchet is intact?"
based on a catalog entry that refers to the shoe as being latchet style.
(Yes, I know I'm probably making hash of the terms, but it's not my field,
and I'm trying to come up with an example.) Based on the reply, you could
then safely say "An example of an extant shoe with a surviving intact
latchet exists in X museum." Presumably the shoe itself is a primary
source. Does your knowledge of it, being long-distance, cause the shoe to
become a secondary source?

That's rhetorical, and you don't need to answer it -- because we both know
what really matters is whether the shoe, and your information on it, is
reliable, making it a *useful* or *good* source, no matter what label we
put on it.

Where this makes a practical difference is in situations like Chris
raised: When well-meaning competition rules state that you have to have X
number of primary sources. If you're going by the
"archaeological/materials/Marc/Cynthia" school, very few people will ever
meet the competition's standard -- how many SCA members are going to file
into the National Museum of Denmark asking for a first-hand look at
Herjolfsnes 63 so they can use it as a primary source in their
documentation? I'm sure the person who wrote such rules was working off
the "historical/events/Robin" set of definitions, and was probably a lot
more concerned with getting entrants to look at Norlund rather than
Norris, not on trying to disqualify the person who uses Norlund because
she can't see the real thing in Denmark. There are still a lot of people
in the SCA who have never cracked an art book in researching their
costumes. (I got an email a couple of weeks ago from someone who wanted me
to tell her where she could find a medieval picture of a "cotehardie,"
preferably online, because she needed one for her documentation, and she
had never seen one herself, though OF COURSE she knew they existed and how
to make one!)

--Robin




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The site won't run for me. :-( So I can't comment on it.

But I have read the book the movie is based on, and it's very good. Not what
I would call melodramatic at all, but certainly dramatic. I am curious to
see what they do with it. And if Colin Firth is in it, I'll go!

As for the painting ... I used to have a large poster of it in my college
dorm room, and always loved it. The earring looks like a pearl to me! About
8 years ago I got to see the painting when the Smithsonian did its sublime
Vermeer exhibit, something I will always remember. I was surprised to see
how small many of his paintings are. That one is just about life sized, not
huge like my poster. And when you see it from the other side of a room, it
looks as if the girl had just turned her head to look at you, and she is in
love with you. It's as emotional as it is beautiful, really. I suppose that
was the inspiration for the novel, which is about a maid who poses for
Vermeer and their mysterious relationship, which was in the book a love
affair of an unusual nature.

Gail Finke


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Subject: RE: [h-cost] RE: Facial and body types & costume
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Wow...you have Burgundian written all over you! :)

Seriously, I think you would look perfect in a late 15th c. Burgundian
V-necked gown, with a tall hennin. It would set off your figure
smashingly, and your high forehead would be perfect for the headwear of
the time.

Or a 1380s gothic fitted dress/cotehardie, which would allow you to show
off your hair as well.

Drea

On Tue, 4 Nov 2003, Herself-the-Elf wrote:

> I'll bite...what period do people think I am most suited for?  My
> favourites, costume-wise, are 1100-1400, but wondering if I have the
> face/body for some other era.
>
> Pale skin, short and slight, with narrow shoulders (kind of bony) small
> bust, short waist and full hips.  I have a narrow oval face with very long
> dark brown hair.
>
> Pics:  http://images.cosplay.com/showphoto.php?photo=90457
> http://sarcasm.fanfic.org/ps-ayumi7s.jpg
> http://sarcasm.fanfic.org/ps-ayumi16s.jpg
>
>
> -- Maral
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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> In my not-so-humble opinion, a whole lot of the confusion and anguish
> about primary, secondary, tertiary etc. sources stems from the simple
> fact that some competitions have rules -- usually graven on stone
> tablets somewhere -- that require a certain number of references of
> each type. (I.e. "two primary sources or one primary and two
> secondary")
> 
> I personally think the writers of such rules, however well-intended,
> should be taken out and, er, nonviolently persuaded (operatic arias at
> ten paces?). I think such rules cause contestant anguish far above and
> beyond their intended purpose, simply because it _is_ often difficult
> for the inexperienced to understand the differences.

That's why any competition rules should have definitions of things of 
this sort *carefully* defined. I think that competitions and the like 
need to have some sort of limits on what is considered minimal, 
acceptable, laudable in regards to evaluation of sources. If properly 
defined, it at least makes it somewhat workable. 

It would be helpful if judges could also be properly trained. 
However, I've noticed in our A&S judging that even when we hold 
sessions for that sort of thing (so that all the judges are on the 
same page as far as evaluating a source without using 
primary/secondary/etc.) they don't bother to attend (and then they 
mess it up.)

For example, we had a training session for judges to explain the 
criteria and how they were supposed to be evaluated. The 2 of the 
judges doing the metalwork section (which my husband entered) 
downgraded him on his sources because he didn't have any written 
information about the item. He had his oral presentation and had 
brought primary sources (some archeological specimens). They *only* 
gave him credit for his oral presentation (2 out of 5 points) instead 
of giving him credit for his primary source (which would have given 
him 5/5 points.) He didn't really care, but I pointed it out to the 
organizers since it meant that those judges had either not attended 
the judges session or had totally disregarded the rules or had no 
idea about what they were doing. (The 3rd judge knew better and gave 
him the appropriate points.)

> I wish such rules could more sensibly say that sources closer to the
> original items get you more points, and let it go at that. 

So then, how do you spread the points in terms of the sources. It 
will still come down to making sure everyone is on the same page as 
far as the definitions are concerned and that the judges have enough 
saavy to be able to discern the closeness.

Kat
<kat@redtrollforge.com>


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> Sometimes a craftsman in that period would know *about* something but
> wouldn't know enough to appropriately represent it. And they may have
> seen a textile which they are trying to paint, but don't have it in
> front of them to get all the textures correct.

Just grab a piece of paper and try to draw a bicycle, without looking at a
picture. It's not as easy as it sounds, for most people, even if it's
something we've all used and/or owned before, and seen frequently.
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From: "Cindy Abel" <brujne@creighton.edu>
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I got the site to work for me; even the movie trailer.  Would love to see
one of those coffee-table books on the making of this movie and the
soundtrack, but neither is listed on Amazon.com or B&N.

Also found a two-page article in the latest Victorian Decorating magazine.
It is the Christmas issue #52. pp. 84-5 have a two page article with
"teaser" pictures on the exibit at the Wadsworth Atheneum Museuam of Art in
Hartford CT, Nov 11-March 7 2004.  Entitled "Fashion and Fantasy 1898-1908"
it covers the decoration and fashion styles of this era, including  the
fascination with Art Nouveau, Japonism, and dress reform, judging froom the
pictures shown.

Alas, it is not mentioned on the museum's website, although I did email them
to see if there would be brochures, photos or even a book on this exibition
I could obtain.

Cindy Abel



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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] Primary? Secondary? (was: On the Subject
	ofDocumentation)
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> In addition to Cynthia's article and Tasha's post, I see the
> same thing on Kass's site at
> http://www.reconstructinghistory.com/beginners/research.html , under
> "Types of Sources." All three of these ladies known for doing good
> research, and all three seem to have picked up this same set of new
> distinctions, so clearly these ideas are getting a lot of play out
> there in re-enactment circles. I can only guess that this originated
> in a good-faith attempt to teach people to find and use the best
> sources, and somehow developed into a far-too-literal use of the
> conventional terms.

And all three of us know each other fairly well and have discussed these
things at length.  I wouldn't be surprised if we learned these things
from one another to a greater or lesser extent.

I've been wracking my brain all day trying to figure out where I got
this from.  I have a dim recollection of learning it in graduate school,
but my graduate degree is in Human Communications, not Textiles or Art
History, so I'm still rather perplexed.

All I can state with any certainty is that I learned these distinctions
before I joined the SCA because I distinctly remember having to explain
them over and over again to people I met during my brief jaunt in that
organization (which was part of the reason for my webpage on the
subject).  This leads me to believe that I learned them in reenactment
circles.  I remember quite clearly someone telling me in no uncertain
terms that my notes on the Shinrone gown were a secondary, not a
primary, source because they were my notes, not the actual gown and
therefore had room for error.  This incident happened before I was
involved in the SCA.

Cynthia?  Do you remember where you first learned these distinctions?

Kass

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From: Chris Laning <claning@igc.org>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] has anyone seen this book?
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I find that the older I get, the more I appreciate books that have BIG pictures! <g>

-----Original Message-----
From: Bjarne og Leif Drews <drewscph@post12.tele.dk>
Sent: Nov 4, 2003 5:59 AM
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] has anyone seen this book?

Dawn.
You simply must have this book. High resolution colour pages after pages of
wonderfull closeup details of exquisite costumes. Lots of information and
lots of inspiration for you.
You simply must have it!



____________________________________________________________
0  Chris Laning
|  <claning@igc.org>
+  Davis, California
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From: Robin Netherton <robin@shell.nightowl.net>
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	ofDocumentation)
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On Tue, 4 Nov 2003, Kass McGann wrote:

> I remember quite clearly someone telling me in no uncertain terms that
> my notes on the Shinrone gown were a secondary, not a primary, source
> because they were my notes, not the actual gown and therefore had room
> for error.  This incident happened before I was involved in the SCA.

Now wait a second. You mean someone actually said you were using a
secondary source because you made notes when you examined and handled the
original?

My head hurts. That's really going overboard. By that definition, the only
way you could have a "primary source" would be if you brought the dress in
and waved it in their face!

It's true that the written materials you produce on the basis of your
examination would be a secondary source -- but only for someone else who
hasn't studied the actual garment. The gown itself is a primary source by
every definition we've heard so far. So in your examination of the gown,
you're using a primary source. A paper or article or set of notes you
produce on the basis of that primary-source research *becomes* a secondary
source if cited in someone else's work. Evidently someone was confused
about the difference between input and output.

--Robin


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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Primary? Secondary? (was: On the SubjectofDocumentation)
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Robin asked:
<<Now wait a second. You mean someone actually said you were using a
secondary source because you made notes when you examined and handled
the
original?>>

Yup.  In no uncertain terms.

Robin then said:
<<My head hurts. That's really going overboard. By that definition, the
only
way you could have a "primary source" would be if you brought the dress
in
and waved it in their face!

It's true that the written materials you produce on the basis of your
examination would be a secondary source -- but only for someone else who
hasn't studied the actual garment. The gown itself is a primary source
by
every definition we've heard so far. So in your examination of the gown,
you're using a primary source. A paper or article or set of notes you
produce on the basis of that primary-source research *becomes* a
secondary
source if cited in someone else's work. Evidently someone was confused
about the difference between input and output.>>

Yes.  I remember investigating the definitions at that point and coming
to the conclusion that the person in question was wrong and that I was
using a primary source.  Someone who quoted my notes or a paper written
using my notes would be using a secondary source.

In the intervening years, I've found these numeric distinctions to be
rather poor in terms of judging suitability.  Pictures can be drawn from
life or copied from pictures that were copied from other pictures,
carrying the same mistake all down the line.  Textual sources can
contain bias.  Any number of things can get in the way of the truth.

That's why I love extant garments so much.  They are what they are.  The
whys or wherefores are fun to think about, but in the end all you have
to go on is what's in your hands.  They may or may not be typical of the
period.  But at least when you make a replica of the Shinrone gown, it's
a replica of the Shinrone gown.  Know what I mean?

Kass


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Subject: Re: [h-cost] Re: girl with a pearl earring
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In a message dated 11/4/2003 2:10:12 PM Eastern Standard Time, 
gailscott@eos.net writes:


> And when you see it from the other side of a room, it
> looks as if the girl had just turned her head to look at you, 

Yes! Vermeer seems to be able to render time. There always seems to be a 
moment before the "snapshot" of the painting and a moment after.

He can also paint air. It's like there's an atmosphere between the picture 
plane and the girl pouring milk.

How does he DO that???

Interestingly Edward Hopper can do these too. With a slightly more lonely 
effect.
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Robin Netherton wrote:
> My head hurts. That's really going overboard. By that definition, the only
> way you could have a "primary source" would be if you brought the dress in
> and waved it in their face!

It serves to illustrate why some of us in the SCA end up gnawing pencils 
in half.  Someone told me on an email list about a reproduction fork he 
made, and he had an actual elizabethan fork as his source, and he was 
downgraded for not citing books.

It's very important not to get too hidebound, whatever your field.  And 
sadly, some of the SCA competition rules have fallen into that mire.

I hope someone gives me a gentle kick if I get to that point.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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<<Right.  I think when I get around to rewriting my page about it,  I'll
stress even more that a good source is what is desired, rather than a
source with primary/secondary/whatever labels on it.  Perhaps that will
help some arrive at a meeting of minds rather than an argument about
terms.>>

I have no problem with realising I will only very rarely have access to
primary sourses of actual garments (not primary sources of portraits.. well
ok so there is *one* from the 16thC in my city;) ) but that's fine as a lot
of people have and taken wonderful notes/photos etc of them and they can be
wonderful secondary sources. The people doing the studying may in fact have
a better grasp of what to look for or at least explain better what they are
seeing. For example I might be able to take note of the weave, but not know
the actual weave.

Primary for me is the actual object. Secondary is one step away.. a photo of
an extant garment, a painting from the time. Tertiary is a photo of a
painting, or maybe a reworking of a photo... of course by the time we get
things on to the net it may well be a quartenary source;)

That said the last source may be still a wonderful source. The detail may be
higher than say a secondary source of a photo of a painting you took in the
museum/gallery. For anyone using the images anyway. You may well remember
the detail the photo doesn't show.

I'd never get hung up of trying to get primary or secondary sources, just
comparing as many different ideas/photos/notes about something.

A case in point is a painting by the Master of the Hausbooks. A pair of
lovers. In Max von Boehn's book the painting is in b/w and very small. Then
I saw a reproduction of the painting in a book from the mueum it is housed
in and shows the woman's dress to be a teal colour.

Then on the cover of The Medieval Art of Love it's a very dark blue.

So what colour is it? Even seeing the primary source may not answer the
question as there may be some colour shifting over the years anyway. The
colour may now be teal (as I suspect seeing as that is the colour in the
Museums book) but it may well have originally been the drak blue of the
other book.

I'll be looking forward to your revised article Cynthia:)

michaela
http://costumes.glittersweet.com


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Subject: RE: [h-cost] Re: girl with a pearl earring
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How does he DO that???
>>>>
They say he used the camera obscura in his work.  Apparently it helped
him make things look so real.

Kass

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If anyone is bored and feels like telling me of another style they think I
really should do let me know;) Plenty of fabric in the storage bins to make
stuff from;) http://glittersweet.com


Being blonde now turning copper and being half dutch half scottish I tend to
favour the clothes that do suit that... late 15thC and early 16thC garb from
around the lowlands.. so that incompases a few influences.

Figurewise with being very small in the bust you'd think 15thC works best
and it does to a degree but with a huge round ribcage it can be difficult;)

Then agaihn, most people don't recognise me from one photo to another so I
do tend to be able to play around with eras. The roundness of my face is
rather ideal for 18thC, especially with the little lips I have.

Haven't tried Elzabethan, but I am contemplating some late Spanish stuff.
Like the Elizabeth de Valois portrait.. solid black, large hanging sleeves,
minimal surface decorathion. Face wise this might work, but I am nervous
about the body. Black also is my best colour, even right up next to the
face.

michaela
http://costumes.glittersweet.com


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In a message dated 11/4/2003 5:20:29 PM Eastern Standard Time, 
historian@reconstructinghistory.com writes:


> How does he DO that???
> >>>>
> They say he used the camera obscura in his work.  Apparently it helped
> him make things look so real.
> 

Yes.....but it's something more than mere realism.
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To: Historical Costume <h-costume@indra.com>
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>  --- Rima <rima@anet.net> wrote: > >I said:
>
>>  Funny, I was speaking to someone today, a very VERY bright woman with
>>  a masters degree in literature, but who wasn't aware of whether or
>>  not the sweater she was wearing was knitted or woven.   Just 'cause
>>  you drive a car, doesn't mean you know how to build one, or even draw
>  > it, even if it's your own, and you're an artist!  ;-D
>
>That does not relate to whether a Renaissance artist could paint a 
>dress accurately. Textiles
>aren't the be-all and end-all of fortune-making industries these 
>days. Not so in the Renaissance.
>Textiles and spices.
>
>A car is a mechanical thing. Not all artists are adept at drawing 
>cars. Or clothing for that
>matter. But Renaissance portrait artists were. They were the experts 
>in their field, just as your
>masters in literature has her speciality.

I see your point.  I guess we'll have to agree to disagree on this 
one..... ; -D

>  > >That, perhaps, has more to do with the art movement during which
>>  >most of the dancers I see were
>>  >depicted - impressionism?
>>
>  > Not really..... still happens to this very day....
>
>Yes, to some extent, but then other movements, other means of 
>expression in art have come about.
>This does not mean that the same applied to the 16th century. We 
>must remember that the
>Renaissance was an ideal the brought about changes - the human as 
>master of his/her destiny. This
>is why portraiture came about. In such a climate the human being 
>began to be depicted with ever
>increasing levels of realism.

I'm not talking about style, I'm talking about WRONG.  Like, it 
doesn't matter HOW you paint a henin, if you put it on Elizabeth, 
it's WRONG.   Or at least, not accurate.  ;-D

>  > I would hope that even an artist who's inspired to be faithful would
>  > find other inspiration besides....
>
>Painting in general is an area where inspiration is needed, yes. 
>Portraiture on the other hand
>does not require inspiration. It merely requires a good eye for 
>detail and an ability with the
>human form.

I know some artists who would slap you with a glove and ask you to 
name your seconds for saying that!  ;-D

>  > artists aren't photographers,
>
>In the sixteenth century they were. That was the closest thing to photography.

Yes, but they were also still artists.    I think we might have to 
agree to disagree on this one too.....

>I doubt that Titian, the greatest Venetian painter ever, was ever 
>insulted by being asked to Rome
>to paint Emperor Charles V on horseback.

NO NO NO NO, that's not what I meant!

>  One has to understand that
>narrative painting and portraiture were two different things in the 
>Renaissance, and both were
>equally prized, albeit for different reasons.

Right.  But that doesn't negate what I was saying:

Painting in ANY era is subject to the following foibles:
1.  The ability of the artist to accurately depict what is before 
them (which, despite our considering them "experts" may or may not 
have been accurate, unless you have the actual garment in front of 
you to compare with the painting)
2.  The motivation of the artist, which might be influenced by other 
matters (which neither you nor I cannot possibly know, since we are 
not him)
3.  The outside influences on the artist - politics, pressures,
4.  Restoration or other changes made to the work of which we are not yet aware
5.  Other stuff neither of us have thought of yet.

My point was, WE CANNOT KNOW.   We can only hope that what they 
painted is what they saw, or at least close.

>  > I love having someone to argue this stuff with, even if we don't
>  > quite agree!  ;-D
>
>I always enjoy a debate if it's well argued and scholarly. :)

And debated with open hearts and minds. ;-D

Rima
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Date: Tue, 4 Nov 2003 12:39:50 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] RE: Facial and body types & costume
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>  > what would y'all suggest for someone who is all shoulders/bust with no hips
>>  or waist and an olive complexion and angular face (my hair is anachronistic
>>  for all historic time periods - I rely on hats or wigs).
>>  Allison T.
>
>Sounds perfect for Italian Ren!  Here's a nice page:
>	http://pweb.jps.net/~lynnmcm/miditalian.html
>
>					...eliz

This is exactly what I do!   I have that same olive skin and dark hair....

Anybody else doing Ital Ren?

Rima
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Date: Tue, 4 Nov 2003 15:14:23 -0800
To: Historical Costume <h-costume@indra.com>
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Subject: Re: [h-cost] Girl with a Pearl Earring
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>Thanks for the advance notice!!!  Nice site - costumes (garb??) look 
>very good from this distance but the plot sounds a bit 
>melodramatic!!!

LOL!   Well, it's a MOVIE....  and movies have an inner life of their 
own, which has everything to do with the Internal Workings Of A Silly 
Business, and  NOTHING to do with trying to present an accurate 
historic portrayal....

>But, Colin Firth as Vermeer has got _my_ attention.

<grin>   I'll be first in line!

>Theresa Eacker

Rima
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AlbertCat@aol.com wrote:
> 
>>How does he DO that???
>>
>>They say he used the camera obscura in his work.  Apparently it helped
>>him make things look so real.
>>
> 
> 
> Yes.....but it's something more than mere realism.

A lot of it is in the way he painted light, shadows, reflections and 
luminousity from reflected surfaces. You almost never see outside the 
windows, but you always see the light coming in them, reflected off 
pearls ( a popular accessory) or other household objects.

There is a nice little book on Vermeer, put out by Taschen, that I've 
been seeing in the remaindered section of local bookstores. Anyone 
interested in the paintings might consider picking it up. The pictures 
are clear and well reproduced, and the text covers the subjects well 
without being pedantic.



Dawn

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> How does he DO that???
> >>>>
> They say he used the camera obscura in his work.  Apparently it helped
> him make things look so real.
> 

Yes.....but it's something more than mere realism.
>>>>
So is the effect of the camera obscura I'm given to understand.

I don't know the specifics of the technology, but it gives things a glow
that couldn't be seen elsewise.  

I think this article captures something of what I'm trying to describe:
http://www.bbc.co.uk/history/society_culture/art/vermeer_camera_04.shtml


If anyone can better explain what the camera obscura does, please help.

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From: Rima <rima@anet.net>
Subject: Re: [h-cost] Re: girl with a pearl earring
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>AlbertCat@aol.com wrote:
>>
>>>How does he DO that???
>>>
>>>They say he used the camera obscura in his work.  Apparently it helped
>>him make things look so real.
>>
>>Yes.....but it's something more than mere realism.
>
>A lot of it is in the way he painted light, shadows, reflections and 
>luminousity from reflected surfaces. You almost never see outside 
>the windows, but you always see the light coming in them, reflected 
>off pearls ( a popular accessory) or other household objects.
>
>There is a nice little book on Vermeer, put out by Taschen, that 
>I've been seeing in the remaindered section of local bookstores. 
>Anyone interested in the paintings might consider picking it up. The 
>pictures are clear and well reproduced, and the text covers the 
>subjects well without being pedantic.
>
>Dawn

I think y'all just proved that there IS (at times) art in portraiture!

Rima
EWG
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Subject: [h-cost] 
	Re: Primary? Secondary? (was: On the Subject of Documentation)
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>From: Robin Netherton <robin@shell.nightowl.net>
>Sorry, I was trying to find a shorthand way to distinguish between the two
>parallel lines of research approach we've identified.

That's all right, I was just teasing.   And having just gone through all my 
historiography texts, there IS a wide range of interpretations, although 
centered around that same concept.

>Hmm. Did you find *any* online definitions that describe the
>level-of-separation distinction that you've described as common in
>archaeology, and that Cynthia and others are using for SCA? I didn't see
>any in my browse, save for the SCA pages like Kass's.

You know, I wouldn't actually pin Kass's site with that label :)

I don't recall saying it was "common", I said it was how I was trained.   
And no, most of the web pages seem to give a wide array of definitions of 
"secondary sources".  OTOH, this doesn't mean that you are going to convince 
me that working with working with line drawings and photographs of a garment 
is just as good as working with the garment itself :)

> > Considering the inconsistency of usage, I doubt that the terms were 
>intended
> > to undergo this degree of scrutiny.
>Actually, the element of an added level of interpretation -- the filtering
>through another person who was not a first-hand witness to the event -- is
>part of the definition of "secondary" source in all three definitions on
>the Yale site <http://www.library.yale.edu/ref/err/primdefs.htm>. You'll
>see the same thing at <http://www.wcsu.ctstateu.edu/library/odlis.html>
>(warning! big page!). It's a key part of the distinction of how I learned
>the terms.

Really? Gosh - learn something new every day.   Robin - that wasn't what I 
was talking about.

>Here's another example that will probably give some people headaches. As I
>mentioned earlier, in the usage I'm accustomed to, a source's status as
>primary doesn't change depending on the way I view the source. The
>painting is a primary source whether I look at it upside down, through
>sunglasses, through the magnifying zoom on my camera lens, or via a
>photoreproduction. My research will suffer if I don't view it properly, of
>course, but my bad scholarship won't affect the source's status as primary
>as long as it represents firsthand experience with the event I'm studying.
>So when I cite a painting as an example in a paper, I footnote the
>painting; I don't footnote the museum postcard I used to view the
>painting.

See, and I would footnote the postcard.  I keep index cards of various forms 
of footwear found in this place or that.  And I have them color coded by 
card as to whether they are archaeological examples, just photographs, or 
taken from paintings or drawings from books.

>How this would work in your field, Marc, I have no idea. I would expect
>there are times when you email an expert overseas and ask, "Hey, can you
>have a look at shoe find number 257 and tell me if the latchet is intact?"
>based on a catalog entry that refers to the shoe as being latchet style.
>(Yes, I know I'm probably making hash of the terms, but it's not my field,
>and I'm trying to come up with an example.) Based on the reply, you could
>then safely say "An example of an extant shoe with a surviving intact
>latchet exists in X museum." Presumably the shoe itself is a primary
>source. Does your knowledge of it, being long-distance, cause the shoe to
>become a secondary source?

No, the pers.comm. is the secondary source - I just don't have access to the 
primary source.  Even if I ask my good buddy to go and check for me.  It's a 
good secondary source, and hopefully I can rely on his skills to see whether 
or not whatever is intact, but it's better if it can be verified.   You may 
recall the discussion last year about the "St. Louis Shirt" on the 75years 
list?  I still have never seen the actual garment - what I have are the 
observations of several people (including yourself), analysis of photographs 
and so on - trying to sort out the verifiable information.

>That's rhetorical, and you don't need to answer it -- because we both know
>what really matters is whether the shoe, and your information on it, is
>reliable, making it a *useful* or *good* source, no matter what label we
>put on it.

That's ok.

>Where this makes a practical difference is in situations like Chris
>raised: When well-meaning competition rules state that you have to have X
>number of primary sources. If you're going by the 
>"archaeological/materials/Marc/Cynthia" school, very few people will ever
>meet the competition's standard -- how many SCA members are going to file
>into the National Museum of Denmark asking for a first-hand look at
>Herjolfsnes 63 so they can use it as a primary source in their
>documentation? I'm sure the person who wrote such rules was working off
>the "historical/events/Robin" set of definitions...

Maybe not.  My wife informs me that the Laurelate in the Texas/Oklahoma 
'kingdom' has pushed for the more anal retentive approach as a response to 
academic criticisms of the SCA.  I just wish they'd define their terms 
clearly - whichever.

>costumes. (I got an email a couple of weeks ago from someone who wanted me
>to tell her where she could find a medieval picture of a "cotehardie,"
>preferably online, because she needed one for her documentation, and she
>had never seen one herself, though OF COURSE she knew they existed and how
>to make one!)

You have my sympathies.

Marc

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Date: Tue, 04 Nov 2003 19:45:35 -0500
Subject: Re: [h-cost] Sew on Tudor Jewels-painted black diamnonds
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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I'm behind on my mail, but wanted to comment on the diamond thread:
 
> That's one cut [for diamonds], but they also used a pyramidal shape for the
> cut. These were part of the novelty you mentioned since they could also be
> used to cut glass or draw on glass.

Pyramidal shaped diamonds are their natural state.  I saw an exhibit called
"Treasury of the World" at the Cleveland Art Museum (Ohio) of Mughal jewels.
Room after room of fabulous objects were made from basically four materials:
gold, diamonds, rubies, and emeralds.  They had many diamonds from the
Indian Golconda mines and pieces produced in Mughal India, contemporary to
Elizabeth I and James I.  There is a drop-dead gorgeous exhibit catalog of
the same name.  

A natural occurring form of diamond is two pyramids back to back, so to get
the shape of those early pyramid-shaped European diamond rings, they just
cleaved the diamond in half. The pyramid is not faceted but natural.  Those
early pyramid diamonds are also not brilliant because they didn't have the
technology to polish the pyramid sides, which could only be polishing with
diamond dust, since nothing else is hard enough.

>> 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'... Actually, diamonds weren't that popular in jewelry
>> during the Elizabethan period...The colored stones were much more popular...

As mentioned, lack of technology to cut and polish diamonds in the
Elizabethan period left them bland looking, plus the preference for colored
stones.  As mentioned, Elizabethans used foiled backs to give color to
diamonds.  They also used silver to enhance light reflection.  Silver foil,
I believe, is what is being represented in the "black" diamonds of Tudor and
Jacobean portraits.  I have never run across a period or secondary reference
to painting diamonds black, only using foil backs.

There is an excellent reference on diamonds, an over-sized 287 page book
with 420 color illustrations entitled:

"Diamonds: myth, magic and reality" New revised edition. New York: Bonanza
Books, 1984.  

It is an English translation of a 1980 edition published in the Netherlands
written by a large group of gemologists and academics, with the assistance
of the good-old De Beers diamond monopoly.  Sections include: From Myth to
Reality (on the lore of diamonds); The Rough Diamond and Its Origins (on the
history of diamond discovery and mining); From Rough Stone to Polished Gem
(on the history and technology of cuts, faceting, and polishing); and From
Jewelry to Industry (on the various uses made of diamonds).

There are huge color illustrations throughout as well as quotations from
early sources, reproduction of period drawings, and photos of pieces from
various periods.  Although other jewelry books may include more photos of
individual pieces of period jewelry, this is by far the largest resource
I've run across solely on the history of diamonds.

Marsha  


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Marc Carlson wrote:
>> From: Robin Netherton <robin@shell.nightowl.net>
>> So when I cite a painting as an example in a paper, I footnote the
>> painting; I don't footnote the museum postcard I used to view the
>> painting.
> 
> See, and I would footnote the postcard.

This reminded me of an example why it might be good to footnote the 
postcard.  Some 15 years ago, the Boston Museum of Fine Arts had a show 
which compared original art to really good forgeries of the same art. 
One of them was a young woman on a vine-covered swing.  There were a 
couple of obvious differences, such as hand placement, between it and 
the original.  They had postcards of the original art for sale.  The 
picture for that one, labeled as the orginal, was the forgery.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Then came the news that margarine’s trans fat may be even worse than 
butter’s saturated fat, which threw millions of confused consumers back 
into the butter camp."  Butter Camp?  Where do I sign up?
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
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On Tue, 4 Nov 2003, Marc Carlson wrote:

> >any in my browse, save for the SCA pages like Kass's.
> 
> You know, I wouldn't actually pin Kass's site with that label :)

Whooops. Sorry, Kass. "Reenactment-oriented pages."

> OTOH, this doesn't mean that you are going to convince me that working
> with working with line drawings and photographs of a garment is just
> as good as working with the garment itself :)

My goodness, I hope that smiley means you're teasing again. I never said
any such thing. I've lost count of the number of messages in this thread
where I've tried to point out that not all primary sources are equally
"good," and also that some ways of *viewing* a primary source are worse
than others and likely to get you into trouble.

(BTW, seeing the St. Louis shirt through a glass case probably gave me
less information than I would have gotten from reading notes of someone
knowledgeable who had the good fortune to examine it hands-on, but I don't
think anyone has been able to do that, so we settle for the view through
the glass.)

And, dear, please don't even suggest -- lest someone take you seriously --
that I'd put line drawings and photographs into the same category AT ALL.
Line drawings are squarely secondary even in my book. (Unless the line
drawing is also from the period -- e.g. if I'm studying 16th c. Spanish
clothing construction and the line drawings are from Alcega's pattern
book.)

> Maybe not.  My wife informs me that the Laurelate in the Texas/Oklahoma 
> 'kingdom' has pushed for the more anal retentive approach as a response to 
> academic criticisms of the SCA.

Ironic, in that cases like Kass and others have described, where people
are defining "primary source" so restrictively as to be useless, would
just get raised eyebrows -- definitely not added respect -- from the
academics I know. What's important is that people know to get as close to
the period information as possible, to gather as much information from as
many diverse types of sources as possible, *and* to correctly interpret
and correlate the information they do get. Bandying about labels with
ever-tightening definitions, or blanket refusal to consider whole
categories of quality sources because they're suddenly classed as
"secondary," won't earn anyone any points for academic legitimacy.

> >costumes. (I got an email a couple of weeks ago from someone who wanted me
> >to tell her where she could find a medieval picture of a "cotehardie,"
> >preferably online, because she needed one for her documentation, and she
> >had never seen one herself, though OF COURSE she knew they existed and how
> >to make one!)
> 
> You have my sympathies.

And after I got her to define what she meant by "cotehardie," helped her
determine what type of source she needed, and walked her through the
basics of how to find period art, what to look for, and how to choose an
appropriate image from the hundreds of readily accessible period pictures
from that period -- and much more besides -- I not only got no response
(not even a "thank you"), but I found she popped up on an e-mail list with
the same question, plus one more line: "I don't have time to go to the
library."

And when she gets a low score for documentation, I'm sure she'll think
it's terribly unjust because she went through so much WORK ...

--Robin

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Date: Tue, 04 Nov 2003 20:27:36 -0500
Subject: Re: [h-cost] Luther
From: Marsha J Hamilton <mjh@pearlandplume.com>
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on 11/1/03 3:12 PM, AlbertCat@aol.com at AlbertCat@aol.com wrote:

> In a message dated 10/31/03 7:15:31 PM Eastern Standard Time,
> Kitsune242@aol.com writes:
> Has anyone seen this movie?
> Yes, unfortunately.
> 
> Some nice costumes though.

Don't know too much about Luther, but the woodcuts I've seen of him don't
look anything like Joseph Fiennes!  Loved the wife's gowns after she is no
longer a runaway nun.  The banded skirts and sleeves were very Cranach,
weren't they?

Marsha

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Date: Wed, 5 Nov 2003 12:33:35 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] hair
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 --- kat@grendal.rain.com wrote: >  

> > That does not relate to whether a Renaissance artist could paint a
> > dress accurately. Textiles aren't the be-all and end-all of
> > fortune-making industries these days. Not so in the Renaissance.
> > Textiles and spices. 
> 
> Actually, it can mean just that in the Renaissance. There are well 
> known paintings where they have gotten the details very wrong about 
> textiles (especially when it comes to things like looms.) Even in 
> tapestries (where you would think that they would have a very good 
> idea of how to weave) the looms are often missing critical parts, yet 
> are very detailed otherwise (so it's not just that they were 
> simplifying.) <snipped>


Again, a loom is not a dress. I think we should just agree to disagree, shall we? We seem to have
very differing opinions and levels of understanding about the art of portraiture. In a portrait
you will not see a loom. A depiction of a person on a tapestry is not a portrait. Portraits have
been lumped in with narrative, allegorical and religious art, which simply confuses the matter.
Rather than confusing things any further, I shall leave it there. I might even sew someting today.
:)




=====
****************************************
Bella 

*The Realm of Venus: Ladies Clothing in 16th Century Venice
http://realmofvenus.renaissancewoman.net
*Courtesan Mailing List
http://groups.yahoo.com/group/Courtesan/
*****************************************

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From h-costume-bounces@indra.com  Tue Nov  4 20:48:29 2003
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Subject: [h-cost] BTW, for re-enactors.....
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I ran into someone at the Handweavers Show here in Los Angeles.   She 
has a beautiful antique spinning wheel for sale -  Mid 1800's, in 
perfect working condition - I know, I tried it.   The mother of all 
has been replaced, along with the maidens, to hold an Ashford bobbin 
and flyer.   Single treadle, of course, and double drive.

I think she was looking for $250-$300 for it.

If you're interested, call Karen Frazer
818-365-1417

Rima
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From: "A.Thurman" <athurman@cybergal.com>
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Date: Tue, 4 Nov 2003 18:27:12 -0500
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Yep, that WAS me! I think you are right about the colors in Spanish 16th
c. - I think the biggest downfall for my first project was it was an orange
red color - great for blondes, makes me look jaundiced :P

Re: Byzantine - flipping through costumes.org today I was thinking the same
thing, if only because, in addition to headgear, Byzantine = shiny!

I may eventually get around to Italian Renn and Mongolian as well - I have
to say it's hard for me to meet a costume I don' t like!

Definitely going to plan for the future. Thank you all!

Allison T.

Message: 5
Date: Tue, 4 Nov 2003 09:24:54 -0500 (EST)
From: Drea Leed <drea@nospam>
Subject: Re: [h-cost] RE: Facial and body types & costume
To: Historical Costume <h-costume@indra.com>
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Ha! Allison!  I didn't realize it was you until I reread my message.
Let's see, now that I have a picture in my mind:

Spanish 16th c would work with your coloring, definitely. But I think your
body type would look best in drapier styles that hang from the shoulders,
perhaps earlier period Greek or Roman...or Byzantine!  Yes, I think
Byzantine would be perfect for you. Plus, cool concealing headwear.

Drea

>
> On Mon, 3 Nov 2003, A.Thurman wrote:
>
> > Been reading this thread with interest. I think y'all may have hit the
nail
> > on the head regarding regional/national body types informing regional
> > styles.
> >
> > Try as I might, I love Tudor and Elizabethan but don't think it looks
right
> > on me, mostly because I am far too dark for the "ideal" seen in
portraits. I
> > wear sunscreen every day, but have an olive complexion and very angular
> > features, possibly from some Native American in my background (the rest
of
> > my heritage is mostly English/Scottish).
> >
> > Not like I'm going to drop 16 century styles (hey, I'm sure there were
> > swarthy girls somewhere wearing stays and farthingales!), but I'm
curious:
> > what would y'all suggest for someone who is all shoulders/bust with no
hips
> > or waist and an olive complexion and angular face (my hair is
anachronistic
> > for all historic time periods - I rely on hats or wigs).
> >
> > Allison T.
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
>

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Nah,  I was thinking of Judith with the head of Holofernes.  Lovely red with
gold horizontal stripes on the skirt, far from your face.

Let's see, who can we get to play Holofernes?  How about W***?

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Cynthia J Ley
> Sent: Tuesday, November 04, 2003 10:01 AM
> To: h-costume@indra.com
> Cc: Cley@juno.com
> Subject: Re: [h-cost] hair
>
>
> EIYEEEEE!!!!!
>
> Ok...just no bumblebees. I look ghastly in yellow. Then again, teal....
> :) I think I need to dig out the Medieval Women calendars I saved (and
> *shame* on Workman Publishing for discontinuing them!!!).
>
> Some people never use their heads, and would never notice if it were
> missing. ;)
>
>


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Subject: [h-cost] 
	Re: Primary? Secondary? (was: On the Subject of Documentation)
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>From: Robin Netherton
>My goodness, I hope that smiley means you're teasing again. I never said
>any such thing. I've lost count of the number of messages in this thread
>where I've tried to point out that not all primary sources are equally
>"good," and also that some ways of *viewing* a primary source are worse
>than others and likely to get you into trouble.

I know.

Interesting aside.  You know those line drawings in archaeology texts?  
Those generally are done to highlight the "important" things about an 
artifact, that might get otherwise lost in the clutter of detail.  Therefore 
they are VERY subjective, although they are frequently assumed to be 
"primary sources" to folks looking through the books.

>(BTW, seeing the St. Louis shirt through a glass case probably gave me
>less information than I would have gotten from reading notes of someone
>knowledgeable who had the good fortune to examine it hands-on, but I don't
>think anyone has been able to do that, so we settle for the view through
>the glass.)

This being the major lesson --  primary, secondary aren't always as 
important as what's available.

>And, dear, please don't even suggest -- lest someone take you seriously --
>that I'd put line drawings and photographs into the same category AT ALL.
>Line drawings are squarely secondary even in my book...

I put them in the same category :)

>>Maybe not.  My wife informs me that the Laurelate in the Texas/Oklahoma
>>'kingdom' has pushed for the more anal retentive approach as a response to
>>academic criticisms of the SCA.
>Ironic, in that cases like Kass and others have described, where people
>are defining "primary source" so restrictively as to be useless, would
>just get raised eyebrows -- definitely not added respect -- from the
>academics I know. What's important is that people know to get as close to
>the period information as possible, to gather as much information from as
>many diverse types of sources as possible, *and* to correctly interpret
>and correlate the information they do get. Bandying about labels with
>ever-tightening definitions, or blanket refusal to consider whole
>categories of quality sources because they're suddenly classed as
>"secondary," won't earn anyone any points for academic legitimacy.

Don't look at me.  I'd prefer it if they just skipped the terms altogether.

OTOH, in said kingdom, they apparently also don't have competitions 
-requiring- "primary sources" or "secondary sources".    Now, apparently 
they just want to know what the sources used were

>the same question, plus one more line: "I don't have time to go to the
>library."

*cough*

>And when she gets a low score for documentation, I'm sure she'll think
>it's terribly unjust because she went through so much WORK ...

Yeah, well.

Marc

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Drea Leed wrote:
> Sure, that would be cool. I have everything Wimme ever recorded, plus the
> swedish folk music boxed set on saami music, but that's about it.

	ah, Wimme was the main one I'm familiar with. have you 
heard of Mari Boine? There's some interesting joiks on "the 
Sweet Sunny North vol 1" - Ailu Gaup gives me chills! Have 
you been to the NorthSide website? They carry quite a bit of 
interesting stuff (including Wimme and Mari Boine) Loituma 
sounds fascinating. They are a " a young quartet who combine 
the Finnish vocal tradition with the exquisite sounds of the 
kantele (Finnish harp)". the website is http://noside.com . 
I had also been thinking about a CD I have called Wizard 
Women of the North - but they aren't particuarly joiking.

	Costume content: If people aren't tired of "where do I fit 
in history" anyone got suggestions for me? Ijust make what 
fascinates me, but I've got no clue what I'm best body-typed 
for. <http://www.oldwaylane.net/judy.html> has me in 
mundanes. let's see: I'm about 5'2"-ish, um, "well-padded", 
dark hair going rather grey, hazel eyes, and square faced. 
My background is French, English, we think Scottish and 
either Austrian, Hungarian or Polish (there's a bit of 
debate on my father's side).

	-Judy

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Subject: [h-cost] Book find
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Just arrived today, from our favorite old book dealer:

The English Icon: Elizabethan & Jacobean Portraiture by Roy Strong

It seems to be very good for this era, with portraits indexed by sitter and 
painter.  Lots of scholarly commentary.  Most pics in B & W :(, but some in 
color.  The interesting thing is that the color ones are separate plates 
that are attached to the page by the top edge only.  I'm sure it was done 
as a cost thing - printing the picture only and inserting it into the book 
has to cost less than printing a whole page in color and then having to 
make sure it's bound in separately.  It's pub date is 1969 and it was done 
in Britain.  More info if anyone wants it.

P & S

"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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At 11:25 AM -0800 11/4/03, kat@grendal.rain.com wrote:
>
>  > I wish such rules could more sensibly say that sources closer to the
>  > original items get you more points, and let it go at that.
>
>So then, how do you spread the points in terms of the sources. It
>will still come down to making sure everyone is on the same page as
>far as the definitions are concerned and that the judges have enough
>saavy to be able to discern the closeness.

Very true, and I don't have an easy answer. Mostly I tend to focus on 
the difficulties it creates for potential competitors, because in our 
neck of the woods it seems to be very difficult to convince people to 
enter competitions at _all_. It's pitiful to see a competition for a 
region that covers (say) half of California, with a total of three 
entries. I think it's a regional culture thing <sigh>.

And one of the things people who don't enter tend to complain about a 
lot is how hard it is to do documentation, and especially how they 
don't understand what the judges are looking for. Getting sidetracked 
into confusing discussions about what is primary and secondary 
generates a lot of online agony on some of the lists I'm on. (As 
Cynthia can testify -- that being one of the reasons she created her 
page in the first place. :)

At 11:28 AM -0600 11/4/03, Marc Carlson wrote:
>
>Considering the inconsistency of usage, I doubt that the terms were 
>intended to undergo this degree of scrutiny.

My point exactly.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Book find
Date: Tue, 4 Nov 2003 20:44:23 -0800
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Ah, yes.  My favorite book bought back before I knew the SCA existed.  I
still want the gowns in all the color portraits and many of the b&w's as
well, particularly the one that is ermine from the knees down.

I got mine from a specialty book service something like Hamilton.  They had
Davenport as a single volume for $18.00.  I bought 10 of them to give away!

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Pierre & Sandy Pettinger
> Sent: Tuesday, November 04, 2003 8:05 PM
> To: h-costume@indra.com
> Subject: [h-cost] Book find
>
>
> Just arrived today, from our favorite old book dealer:
>
> The English Icon: Elizabethan & Jacobean Portraiture by Roy Strong
>
> It seems to be very good for this era, with portraits indexed by
> sitter and
> painter.  Lots of scholarly commentary.  Most pics in B & W :(,
> but some in
> color.  The interesting thing is that the color ones are separate plates
> that are attached to the page by the top edge only.  I'm sure it was done
> as a cost thing - printing the picture only and inserting it into
> the book
> has to cost less than printing a whole page in color and then having to
> make sure it's bound in separately.  It's pub date is 1969 and it
> was done
> in Britain.  More info if anyone wants it.
>
> P & S
>


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Oh, definitely!
That's a hoot!
--sue

Kirrily Robert wrote:
> 
> Sarah wrote:
> > As for looking like I've stepped out of a painting:
> > http://www.modehistorique.com/images/sarah4.jpg
> >
> > (Of course, this is a gag picture.  Jen Thompson overlaid my face into
> > the original portrait using her mad Photoshop skillz.  But it still
> > shows you that I was born about 450 years too late...)
> 
> Jen did my face with a portrait by Anthonis Mor.  You can see it at
> http://elizabethangeek.com/katrowberd/
> 
> Do you think Flemish suits me?  I do :)
> 
> K.
> 
> _______________________________________________
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Subject: Re: [h-cost] RE: Facial and body types & costume
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At 12:46 PM -0500 11/4/03, Drea Leed wrote:
>  >
>>  Hi Drea,
>>      By any chance do you have any suggestions (books or
>>  links) for Saami clothing?
>
>Only "traditional" Saami clothing, which was for the most part a 19th &
>20th century formalization of current folkwear. Here's a pic:
>  http://w3.tyenet.com/kozlich/edenpic4.htm
>
>and a page about the Saami in general:
>http://www.itv.se/boreale/samieng1.htm
>

There's a certain amount of historic information in:

Gjessing, Gjertrud & Guto.  1940.  Lappedrakten.  H. Aschuhoug & Co, Oslo.

(Forgive me for not going upstairs to get more details ... I'd have 
to disturb the cat.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Hi,
I am lucky enough to be going to England to work for the next 10 months, living in Kew, in south western London. This means time to do some of the costumey things that a short trip just won't allow. Recommendations please :-)
Also, I recall that there is a lady on this list who has been involved with training at the Royal armoury in Leeds.
Please will she be kind enough to contact me, my husband and I fence and are interested in what is on offer there.

TIA

Annette Wilson
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Subject: [h-cost] Tres Riches Heures
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> With all this discussion of paintings, another two bits' worth:
>
> be very careful of paintings shown in books. Sometimes these are not
> reproduced as the originals.  The obvious problem is that of the colors,
> but you can also find censured versions of some artworks. One such case
> is a winter scene from the Duc de Berry's _Tres Riches Heures_: a lady
> and two men are warming themselves inside a hut, seated on a bench. The
> men are sitting with their legs sprawled and are obviously not wearing
> undergarments.

Actually, a closer look shows that there are 2 women and 1 man.  While the
genitals shown on the woman in the rear are protryed in a somewhat odd
manner, they are a slit as opposed to the genitals of the man next to her.
The other clue is that she is dressed the same way as the woman in the
foreground.  The detail view on the Web Gallery of Art is useful -
http://gallery.euroweb.hu/html/l/limbourg/index.html - but some of the books
portray it better.  For instance, the contrast on my monitor makes the rear
lady's hat invisable as it blends in with the bedspread, but it shows
clearly in the book reproductions.

Janet

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

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From: Carolyn Kayta Barrows <kayta@frys.com>
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>I am lucky enough to be going to England to work for the next 10 months, 
>living in Kew, in south western London. This means time to do some of the 
>costumey things that a short trip just won't allow. Recommendations please :-)

Stash me in your suitcase?


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

              //// \\\
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Subject: Re: [h-cost] Tres Riches Heures
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> > With all this discussion of paintings, another two bits' worth:
> >
> > be very careful of paintings shown in books. Sometimes these are not
> > reproduced as the originals.  The obvious problem is that of the colors,
> > but you can also find censured versions of some artworks. One such case
> > is a winter scene from the Duc de Berry's _Tres Riches Heures_: a lady
> > and two men are warming themselves inside a hut, seated on a bench. The
> > men are sitting with their legs sprawled and are obviously not wearing
> > undergarments.
>
>Actually, a closer look shows that there are 2 women and 1 man.  While the
>genitals shown on the woman in the rear are protryed in a somewhat odd
>manner, they are a slit as opposed to the genitals of the man next to her.
>The other clue is that she is dressed the same way as the woman in the
>foreground.  The detail view on the Web Gallery of Art is useful -
>http://gallery.euroweb.hu/html/l/limbourg/index.html - but some of the books
>portray it better.  For instance, the contrast on my monitor makes the rear
>lady's hat invisable as it blends in with the bedspread, but it shows
>clearly in the book reproductions.

My 1952 repro of this is censored, and I never realized it had been till I 
saw an uncensored version.


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

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Annette,

You can book to see special items of costume you're interested in at the
V&A. The list is currently about 8 weeks long.
If you're interested in the early-mid17th century, I have a favour to ask
you about the construction of extant hats...

Glenda.

> Hi,
> I am lucky enough to be going to England to work for the next 10 months,
living in Kew, in south western London. This means time to do some of the
costumey things that a short trip just won't allow. Recommendations please
:-)

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From: Purple Elephant <Lady_Angharad@bigpond.com>
Subject: Re: [h-cost] Facial and body types & costume (was: hair)
To: Historical Costume <h-costume@indra.com>
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> > But I'm not American, or Australian. Or from any other sort of melting
> > pot. I'm English, and pretty much English all the way back (alright,
> > so with a teensy bit of Irish) and I look very English.
>
> Don't assume that because you are English that you are not from a
> "melting pot." When you consider all the influences to England over
> the centuries you come to realize that it is not as homogenous as you
> might think. For example, you could have both Pict (short, dark) and
> Scandinavian (tall, blond) blood.
>
> And there was a lot more migration of people from other places who
> ended up in England (such as the influx of Jews in various periods
> and their trying to inculturate so as to be "safer" which sometimes
> included hiding their religious origins and intermarrying, thus
> bringing in mediterranean and Eastern European blood) and all the
> people in trade or conquest who emigrated to England in the past
> centuries (the Germanic tribes for instance.) And how about slave
> influxes. (You see a surprising number of what we in the US call
> "Afro-Americans" in London and on your telly.)

But surely this is true of pretty much anywhere in Europe (except
for the larger influx of people to England from the Empire over the last 100
yrs or so). There was all kinds of mixing up and people moving
around in the Dark Ages. Anything pre-Conquest had a lot
of time to get mixed up together before the next major influxes
of people from other significantly different areas. Otherwise the
whole idea of people looking Russian or German or Flemish
makes no sense either, because there were just as many
Romans, Jews, Goths etc there in the past.

I know my family history back about five generations and it's fairly
uninteresting ethnically speaking. Back when I stop knowing
specifics things were a lot more homogenous (and people
were less inclined to move about and marry outside their
experience). So I'm not really assuming.
>
> And in the future, England will be even more of a melting pot than it
> has been. The policies on immigration and influx from the former
> colonies has lead to large populations of people of Indian, Eastern
> and Middle Eastern descent.
>
No argument there, but as I said, it's not going to alter my family
history.
> So, even if *you* look English, you might still have a lot more
> "melting" than you might know about.
>
> Maybe that's
> > why hennins were only popular for such a brief period in England, as
> > opposed to in France and Flanders. Interestingly enough I was wearing
> > my English hood (a la Jane Seymour) once and someone told me I had the
> > right sort of face to carry it off. I also do well in those columnar
> > braids that were so popular in the 14th century.
>
> My descent is 3/4 Scottish and 1/4 Swedish. Yet, I "look" English
> enough that when I was in London for a month, I was frequently
> thought by the people (locals, not tourists) there to be English
> (until I opened my mouth, of course.) I've seen photographs of me in
> Tudor which make me look like I'm straight out of a Holbein. Yet, I
> have an amazingly high forehead and high cheekbones which also makes
> me look like I could be a Burgundian lady (although there's no one in
> the family tree who came from the continent except for a single
> "Pennsylvania Dutch", ie German, lady who married into the family and
> whose kids kept marrying Scottish people after that.)
>
> My point is that I don't believe that the genetics of France and the
> adjoining areas was sufficiently different from that of England for
> someone of English descent to look worse in a Burgundian hennin than
> for a Burgundian.
>
If the Scottish is Lowland Scottish you might be more English than you
think *grin* Or it could just be that standard genetic variation within
any one regional group is sufficent to produce people who look
fabulous in a style and people who look terrible in it. In which case we're
right back to 'I would have looked terrible in it in period'.
Claire

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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
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that'll be me I train in Leeds but the guild will be moving into there
london space soon as well so should be setting up then will keep you posted
there are also a couple of other groups based in west london so will hunt
out their details and let you have them.
That was the area I lived in (had a costume shop in Chiswick for a while)
and still  stay when I come down so any local tips etc just ask and happy to
meet up. it is the best area for historic houses as it was the country
retreat area and I was on the council local attractions committee for a
while so have a list of them all although most close over winter I'm afraid

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716
----- Original Message ----- 
From: "grey" <grey@goldweb.com.au>
To: <h-costume@net.indra.com>
Sent: Wednesday, November 05, 2003 6:26 AM
Subject: [h-cost] going to England


Hi,
I am lucky enough to be going to England to work for the next 10 months,
living in Kew, in south western London. This means time to do some of the
costumey things that a short trip just won't allow. Recommendations please
:-)
Also, I recall that there is a lady on this list who has been involved with
training at the Royal armoury in Leeds.
Please will she be kind enough to contact me, my husband and I fence and are
interested in what is on offer there.

TIA

Annette Wilson
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
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On Tue, 4 Nov 2003, Marc Carlson wrote:

> >any in my browse, save for the SCA pages like Kass's.
> 
> You know, I wouldn't actually pin Kass's site with that label :)

Whooops. Sorry, Kass. "Reenactment-oriented pages."
>>>>
That's okay, Robin.  That page exists on the Beginners' section of my
site and I *did* write that when I was in the SCA.  So it's not entirely
an unfair classification.  =)

But thanks for pointing out the distinction, Marc.

Kass

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Really? Any idea of who you contact to do that?
--sue, planning ahead....

Glenda Robinson wrote:
> 
> Annette,
> 
> You can book to see special items of costume you're interested in at the
> V&A. The list is currently about 8 weeks long.
> If you're interested in the early-mid17th century, I have a favour to ask
> you about the construction of extant hats...
> 
> Glenda.
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]  Re: Primary? Secondary? (was: On the Subject of
	Documentation)
Date: Wed, 5 Nov 2003 08:09:12 -0500
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Robin wrote:
<<And after I got her to define what she meant by "cotehardie," helped
her determine what type of source she needed, and walked her through the
basics of how to find period art, what to look for, and how to choose an
appropriate image from the hundreds of readily accessible period
pictures from that period -- and much more besides -- I not only got no
response (not even a "thank you"), but I found she popped up on an
e-mail list with the same question, plus one more line: "I don't have
time to go to the library."
And when she gets a low score for documentation, I'm sure she'll think
it's terribly unjust because she went through so much WORK ...>>

Boy, isn't that a familiar story!  I don't usually get it from people
entering competitions, but from students working on a project that needs
to be done tomorrow.  The strange thing is that I would accept this from
school kids.  They don't know any better.  (I usually reply to them with
the section in the library where they should begin their search.)  But
when the "student" in question tells me the name of her University, I
just about boil over.  At my University, if you weren't adept at using
the library from day one, you probably didn't make it past mid-semester
reports in the first semester!

The one I got the other day from a parent really amused me though.
Apparently there's an International Day at her children's school and
they are representing Japan.  So she says:  "Can you tell me where I can
find shirts to purchase for the kids to wear for that day. Also, any
other helpful information about Japan that we can use for that day."

Shirts?  And "helpful information"?  I swear to you; that's as specific
as she got.  I really have no idea what she wanted.

Kass

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Subject: Re: [h-cost] going to England
Date: Wed, 5 Nov 2003 08:14:52 -0500
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> Really? Any idea of who you contact to do that?

Milady arranged for some special access to embroidery work and
books-of-days. If you like, I can get the contact info she has on file for
that; it'll at least get you in the ballpark.

We stayed at the Montana Hotel in March, caddy-corner from the Gloucester Rd
Tube station. A few minutes' walk and we were in V&A bliss.


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Subject: Re: [h-cost]  email questions Re: Primary? Secondary?
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Kass McGann wrote:
> Robin wrote:
> e-mail list with the same question, plus one more line: "I don't have
> time to go to the library."

Yeah, I get that one moderately often, both for my own pages and 
answering general questions for the sca.org visitors.  I wonder if they 
realize that the translation is "I'm too lazy?"

> but from students working on a project that needs
> to be done tomorrow.

"Please send me a video about medieval hats" is one of the best ones 
I've gotten.  But the ones from people with really interesting questions 
make it all worthwhile.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]  email questions Re: Primary? Secondary?
Date: Wed, 5 Nov 2003 08:42:09 -0500
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Cynthia wrote:
<<"Please send me a video about medieval hats" is one of the best ones
I've gotten.  But the ones from people with really interesting questions
make it all worthwhile.>>

Yes indeed!  Or the sheer enthusiasm of someone who's discovered a new
love.  There's nothing quite as thrilling as getting an email from
someone who's practically drooling on herself because she found on your
site what she's been search for in libraries and on other sites for
years.

That's kinda the reason I don't take anything down on my site even
though I may not be interested in it anymore and don't update it.
People still find what they're looking for there.  =)

Kass

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Subject: [h-cost] Black Diamonds
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Just a quick note: 

When I said "painted diamonds black", I meant by artists in portraiture, not the diamond itself.


T.


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Subject: Re: [h-cost] going to England
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On 13:08 05/11/2003 Sue Clemenger said
> > You can book to see special items of costume you're interested in at the
> > V&A. The list is currently about 8 weeks long.
> > If you're interested in the early-mid17th century, I have a favour to ask
> > you about the construction of extant hats...

There's an email link on the website. They're very good at responding.


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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Saami clothes (was: RE: Facial and body types & costume)
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Heather Rose Jones wrote:
> There's a certain amount of historic information in:
> 
> Gjessing, Gjertrud & Guto.  1940.  Lappedrakten.  H. Aschuhoug & Co, Oslo.
> 
> (Forgive me for not going upstairs to get more details ... I'd have to 
> disturb the cat.)

	Oh I quite understand about the cat. ;-) Thanks for the 
book suggestion, I'll see if ILL can find it. I've got a few 
books and Fred Struthers has found me a couple more, and 
that June Swann footwear book has some great info on the 
shoes, but one of my biggest issues is what on earth gets 
worn beneath that lovely blue tunic/dress? Nothing ever 
describes all the layers. maybe there is no underclothing, 
but that would seem odd. I know modern Saami just wear a 
shirt, sometimes hiding it with a scarf at the neck, but 
19th century Saami, or earlier?

	-Judy Mitchell

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Date: Wed, 5 Nov 2003 09:42:51 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] going to England
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Kew?? Three words, baby: Public Records Office! :) They are located in
Kew, and have manuscripts, inventories, wardrobe accounts, wills, etc.
dating back to the 10th century. Lots of the info in Arnold's Queen
Elizabeth's Wardrobe Unlock'd came from the PRO. In fact, I plan to plant
myself there for two weeks in February, transcribing as fast as my little
fingers will allow.

Victoria and Albert Museum is, I think, another "must see". Their textile
study rooms are phenomenal.

Have fun!

Drea


On Wed, 5 Nov 2003, grey wrote:

> Hi,
> I am lucky enough to be going to England to work for the next 10
months, living in Kew, in south western London. This means time to do
some of the costumey things that a short trip just won't allow.
Recommendations please :-)
> Also, I recall that there is a lady on this list who has been involved
with training at the Royal armoury in Leeds.
> Please will she be kind enough to contact me, my husband and I fence
and are interested in what is on offer there.
>
> TIA
>
> Annette Wilson
> _______________________________________________
> 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] going to England
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Kew?? Three words, baby: Public Records Office! :) They are located in
Kew, and have manuscripts, inventories, wardrobe accounts, wills, etc.
dating back to the 10th century. Lots of the info in Arnold's Queen
Elizabeth's Wardrobe Unlock'd came from the PRO. In fact, I plan to plant
myself there for two weeks in February, transcribing as fast as my little
fingers will allow.

Victoria and Albert Museum is, I think, another "must see". Their textile
study rooms are phenomenal.

Have fun!

Drea


On Wed, 5 Nov 2003, grey wrote:

> Hi,
> I am lucky enough to be going to England to work for the next 10
months, living in Kew, in south western London. This means time to do
some of the costumey things that a short trip just won't allow.
Recommendations please :-)
> Also, I recall that there is a lady on this list who has been involved
with training at the Royal armoury in Leeds.
> Please will she be kind enough to contact me, my husband and I fence
and are interested in what is on offer there.
>
> TIA
>
> Annette Wilson
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

_______________________________________________
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Reticella lace
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Hello.
I was at a lace fair some time ago. There i looked in a new book where
Reticella lace is adapted to bobbin lace.
I thoaght this might be something for all the renaissance reenactors on this
list.
Reticella lace originally was a needle lace. But someone has tryed to adapt
the old patterns to bobbin lace.
They looked really good.
So those of you who make bobbin lace, go and look for this book.
Unfortunately i forgot to write down the details of the book, but i am sure
than any lace suppliers has it.

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  Wed Nov  5 11:38:45 2003
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Subject: Re: [h-cost] Reticella lace
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Bjarne wrote:
> I was at a lace fair some time ago. There i looked in a new book where
> Reticella lace is adapted to bobbin lace.
> I thoaght this might be something for all the renaissance reenactors on this
> list.
> Reticella lace originally was a needle lace. But someone has tryed to adapt
> the old patterns to bobbin lace.
> They looked really good.
> So those of you who make bobbin lace, go and look for this book.
> Unfortunately i forgot to write down the details of the book, but i am sure
> than any lace suppliers has it.

Luckily I bought it just a week ago :)  Here are the details:

Author: Brigitte Bellon
Title: Geklo:ppelte Reticella/Dentelle Reticella aux Fuseaux 
    (the o: indicates an umlaut)
Pub: Gammelby 1998

The book I have is 88 pages, hardcover, with excellent pictures and
prickings for 25 different patterns, most of which look very much like
16th or early 17th century Reticella designs.  The introduction includes
a short historical background in which it explains that making
reticella-like lace with bobbins is a very old practice, and there are
even pictures of extant 16th/17th century lace of this kind.

The text is in German and French only, but the author points out in the
introduction that she prefers to explain things with pictures, so in
fact the text is fairly minimal - about 100-200 words for each pattern,
plus captions for pictures.  My French reading skills aren't *quite* up
to it, but I'm sure with a dictionary and perhaps asking a friend I'll
be able to figure it out :)

Based on what I paid for it in Canada I'd expect it to be going for
around $30 US, roughly.

Hope that's helpful to some,

Kirrily
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  email questions Re: Primary? Secondary?
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Cynthia Virtue wrote:
> Kass McGann wrote:
>> Robin wrote:
>> e-mail list with the same question, plus one more line: "I don't have
>> time to go to the library."
>
> Yeah, I get that one moderately often, both for my own pages and 
> answering general questions for the sca.org visitors.  I wonder if they 
> realize that the translation is "I'm too lazy?"
>
>> but from students working on a project that needs
>> to be done tomorrow.
>
> "Please send me a video about medieval hats" is one of the best ones 
> I've gotten.  But the ones from people with really interesting questions 
> make it all worthwhile.

OK, I've got one to top all of these.

I run a website called ElizabethanGeek (http://elizabethangeek.com/).
One of the things there is a "wiki", which is a sort of website where
any visitor can edit the pages, resulting in a collaboratively generated
resource on whatever topic - in my case, Elizabethan history.

If a page hasn't been written yet, clicking on the link will bring up an
"edit" page where you can simply type in information.

So much for the background.  One of the subjects we hadn't yet written
about was animal husbandry in the Elizabethan period.  So some guy came
along, presumably looking for, err, let's just assume something else
entirely, and found this link.  He clicked on it, got this edit screen,
and left the following message:

    i wanna to know  aktivitas and u can give me brosur

    send to :
    jl petung no 18a papringan jogjakata
    junus bregman gintig

What can one possibly answer to that?

ObCostume: check out the ElizabethanCostume page in the wiki
(http://elizabethangeek.com/wiki/index.cgi?ElizabethanCostume) and feel
free to add any information you think is missing.

Yours,

Kirrily
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From h-costume-bounces@indra.com  Wed Nov  5 12:12:22 2003
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Reticella lace
Date: Wed, 5 Nov 2003 12:11:15 -0500
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Luckily I bought it just a week ago :)  Here are the details:

Author: Brigitte Bellon
Title: Geklo:ppelte Reticella/Dentelle Reticella aux Fuseaux 
    (the o: indicates an umlaut)
Pub: Gammelby 1998

<snipped for brevity>

Hope that's helpful to some,
>>>>
Thank you, thank you, thank you, Kirrily!

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]  email questions Re: Primary? Secondary?
Date: Wed, 5 Nov 2003 12:12:22 -0500
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Kirrily wrote concerning the following message:

    i wanna to know  aktivitas and u can give me brosur

    send to :
    jl petung no 18a papringan jogjakata
    junus bregman gintig

What can one possibly answer to that?
>>>>
What can one possibly make out of that?  I got the first line, but any
idea what the rest is supposed to be?

Kass

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Kirrily Robert wrote:




> What can one possibly answer to that?

The ones that annoy me are when they have their email account set to 
reject mail from people not in their address book. They go web surfing, 
write to me, and my reply bounces. Then they write again, more urgently. 
And I still can't reply. I had one couple writing to me for about 6 
weeks, trying to get me to answer them, with their mail set to reject 
everything. :(


For most of the folks who write with "help i need a renasance outfit can 
u help me?" I just gently ask them if they can narrow that down to a 
specific country and a time period (decade) and get back to me, then I 
would be happy to discuss patterns with them.



Dawn


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A friend of mine came up with an absolutely inspired idea for veil
headbands. She's very prone to migraines, so anything that binds her head
is not a good idea. She uses first aid tape, the stretchy kind that
sticks to itself, and is super easy to adjust (lift the ends and restick
it wear you want), and pins her veils to that. Works like a charm.

Arlys

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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost]  email questions Re: Primary? Secondary?
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Kass wrote:
> What can one possibly make out of that?  I got the first line, but any
> idea what the rest is supposed to be?

It's a postal address in Indonesia, I think.

K.
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Dawn wrote:
<<For most of the folks who write with "help i need a renasance outfit
can u help me?" I just gently ask them if they can narrow that down to a
specific country and a time period (decade) and get back to me, then I
would be happy to discuss patterns with them.>>

The ones that get me are "What did the Scots/Irish/Japanese wear in the
[insert century]?" when my entire site is dedicated to those subjects
and all they had to do was look at the sections labeled "Scottish",
"Irish" or "Japanese" and the first paragraphs would answer them.

Of course then there are the "what did my name used to mean in 16th
century Scotland?" or "what's my clan tartan?"  There's nothing remotely
like this on my site and I don't know why people think that because I
wrote something on the origins of the kilt that I know their personal
genealogy.  <smirk>

Kass

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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost]  email questions Re: Primary? Secondary?
Date: Wed, 5 Nov 2003 12:56:57 -0500
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Kirrily wrote:
<<It's a postal address in Indonesia, I think.>>

Oh, I see.  I couldn't identify a country name...

Kass

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>From: "Kass McGann" <historian@reconstructinghistory.com>
>...But thanks for pointing out the distinction, Marc.

I've had to work very hard to avoid that classification myself :)

Marc

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>From: Cynthia Virtue <cvirtue+dated+1083590727.229860@thibault.org>
>Kass McGann wrote:
>>Robin wrote:
>>e-mail list with the same question, plus one more line: "I don't have
>>time to go to the library."
>Yeah, I get that one moderately often, both for my own pages and
>answering general questions for the sca.org visitors.  I wonder if they
>realize that the translation is "I'm too lazy?"

You know, I get paid to be a university librarian -- I *still* get this from 
college students, and those who don't realize that when they say "I've been 
here for 5 years and have never even been IN here - where's whatever?" they 
aren't impressing anyone.   It's not helped by the fact that many students 
haven't been taught that the internet isn't what I call the Great Star Trek 
Database, where things can just be handed to them, full text, with no 
problems.

Marc




> > but from students working on a project that needs
> > to be done tomorrow.
>
>"Please send me a video about medieval hats" is one of the best ones
>I've gotten.  But the ones from people with really interesting questions
>make it all worthwhile.
>
>--
>Cynthia Virtue and/or
>Cynthia du Pré Argent
>
>------------------------------
>
>Message: 10
>Date: Wed, 5 Nov 2003 08:42:09 -0500
>From: "Kass McGann" <historian@reconstructinghistory.com>
>Subject: RE: [h-cost]  email questions Re: Primary? Secondary?
>To: "'Historical Costume'" <h-costume@indra.com>
>Message-ID: <001501c3a3a2$9ca64e40$3e6453d8@Kass>
>Content-Type: text/plain;	charset="us-ascii"
>
>Cynthia wrote:
><<"Please send me a video about medieval hats" is one of the best ones
>I've gotten.  But the ones from people with really interesting questions
>make it all worthwhile.>>
>
>Yes indeed!  Or the sheer enthusiasm of someone who's discovered a new
>love.  There's nothing quite as thrilling as getting an email from
>someone who's practically drooling on herself because she found on your
>site what she's been search for in libraries and on other sites for
>years.
>
>That's kinda the reason I don't take anything down on my site even
>though I may not be interested in it anymore and don't update it.
>People still find what they're looking for there.  =)
>
>Kass
>
>
>------------------------------
>
>Message: 11
>Date: Wed, 05 Nov 2003 06:50:40 -0700
>From: "Tori Ruhl" <Tori.Ruhl@awin.com>
>Subject: [h-cost] Black Diamonds
>To: <h-costume@indra.com>
>Message-ID: <sfa89dca.064@awmail.awin.com>
>Content-Type: text/plain; charset=US-ASCII
>
>Just a quick note:
>
>When I said "painted diamonds black", I meant by artists in portraiture, 
>not the diamond itself.
>
>
>T.
>
>
>
>------------------------------
>
>Message: 12
>Date: Wed, 05 Nov 2003 14:02:46 +0000
>From: Lynne Connolly <lynneconnolly@ntlworld.com>
>Subject: Re: [h-cost] going to England
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <6.0.0.14.0.20031105140225.024d4d68@pop.ntlworld.com>
>Content-Type: text/plain; charset="us-ascii"
>
>On 13:08 05/11/2003 Sue Clemenger said
> > > You can book to see special items of costume you're interested in at 
>the
> > > V&A. The list is currently about 8 weeks long.
> > > If you're interested in the early-mid17th century, I have a favour to 
>ask
> > > you about the construction of extant hats...
>
>There's an email link on the website. They're very good at responding.
>
>
>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
>
>-------------- next part --------------
>
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>
>Message: 13
>Date: Wed, 05 Nov 2003 10:12:20 -0500
>From: Judy Mitchell <judymitch@oldwaylane.net>
>Subject: Re: [h-cost] Saami clothes (was: RE: Facial and body types &
>	costume)
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <3FA91354.9090800@oldwaylane.net>
>Content-Type: text/plain; charset=us-ascii; format=flowed
>
>Heather Rose Jones wrote:
> > There's a certain amount of historic information in:
> >
> > Gjessing, Gjertrud & Guto.  1940.  Lappedrakten.  H. Aschuhoug & Co, 
>Oslo.
> >
> > (Forgive me for not going upstairs to get more details ... I'd have to
> > disturb the cat.)
>
>	Oh I quite understand about the cat. ;-) Thanks for the
>book suggestion, I'll see if ILL can find it. I've got a few
>books and Fred Struthers has found me a couple more, and
>that June Swann footwear book has some great info on the
>shoes, but one of my biggest issues is what on earth gets
>worn beneath that lovely blue tunic/dress? Nothing ever
>describes all the layers. maybe there is no underclothing,
>but that would seem odd. I know modern Saami just wear a
>shirt, sometimes hiding it with a scarf at the neck, but
>19th century Saami, or earlier?
>
>	-Judy Mitchell
>
>
>------------------------------
>
>Message: 14
>Date: Wed, 5 Nov 2003 09:42:51 -0500 (EST)
>From: Drea Leed <drea@nospam>
>Subject: Re: [h-cost] going to England
>To: Historical Costume <h-costume@indra.com>
>Cc: h-costume@net.indra.com
>Message-ID: <20031105094050.L89895-100000@shell.siscom.net>
>Content-Type: TEXT/PLAIN; charset=US-ASCII
>
>Kew?? Three words, baby: Public Records Office! :) They are located in
>Kew, and have manuscripts, inventories, wardrobe accounts, wills, etc.
>dating back to the 10th century. Lots of the info in Arnold's Queen
>Elizabeth's Wardrobe Unlock'd came from the PRO. In fact, I plan to plant
>myself there for two weeks in February, transcribing as fast as my little
>fingers will allow.
>
>Victoria and Albert Museum is, I think, another "must see". Their textile
>study rooms are phenomenal.
>
>Have fun!
>
>Drea
>
>
>On Wed, 5 Nov 2003, grey wrote:
>
> > Hi,
> > I am lucky enough to be going to England to work for the next 10
>months, living in Kew, in south western London. This means time to do
>some of the costumey things that a short trip just won't allow.
>Recommendations please :-)
> > Also, I recall that there is a lady on this list who has been involved
>with training at the Royal armoury in Leeds.
> > Please will she be kind enough to contact me, my husband and I fence
>and are interested in what is on offer there.
> >
> > TIA
> >
> > Annette Wilson
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
>
>
>------------------------------
>
>Message: 15
>Date: Wed, 5 Nov 2003 09:42:51 -0500 (EST)
>From: Drea Leed <drea@nospam>
>Subject: Re: [h-cost] going to England
>To: Historical Costume <h-costume@indra.com>
>Cc: h-costume@net.indra.com
>Message-ID: <20031105094050.L89895-100000@shell.siscom.net>
>Content-Type: TEXT/PLAIN; charset=US-ASCII
>
>Kew?? Three words, baby: Public Records Office! :) They are located in
>Kew, and have manuscripts, inventories, wardrobe accounts, wills, etc.
>dating back to the 10th century. Lots of the info in Arnold's Queen
>Elizabeth's Wardrobe Unlock'd came from the PRO. In fact, I plan to plant
>myself there for two weeks in February, transcribing as fast as my little
>fingers will allow.
>
>Victoria and Albert Museum is, I think, another "must see". Their textile
>study rooms are phenomenal.
>
>Have fun!
>
>Drea
>
>
>On Wed, 5 Nov 2003, grey wrote:
>
> > Hi,
> > I am lucky enough to be going to England to work for the next 10
>months, living in Kew, in south western London. This means time to do
>some of the costumey things that a short trip just won't allow.
>Recommendations please :-)
> > Also, I recall that there is a lady on this list who has been involved
>with training at the Royal armoury in Leeds.
> > Please will she be kind enough to contact me, my husband and I fence
>and are interested in what is on offer there.
> >
> > TIA
> >
> > Annette Wilson
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
>
>
>------------------------------
>
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>
>
>End of h-costume Digest, Vol 2, Issue 745
>*****************************************

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I still think my favorite was some woman asking me about the Archangel 
Gabriel, wanting to prove some argument she was having with her boyfriend 
about whether Gabriel was another name for the Devil, or some other equally 
highly unusual assertion (my own fault, I maintain a large number of pages).

Marc

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From: Kirrily Robert <skud@infotrope.net>
Subject: [h-cost] 17th century resources
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I hope nobody minds me asking a more general question which is not
specifically about costume.

It looks like I might be getting involved in a group which does 17th
century (England, late 1630s, to be exact).  Does anyone have
recommendations for resources for that period which are *not*
specifically military?  I am interested in general living history
resources for the most part, and ideally would like to find a 17th
century living history mailing list.  If there is no such mailing list,
would those who do 17th century civilian stuff (I know there are some
here) be interested in starting one?

Of course, recommendations for costuming resources are also welcome :)
I have (or have wishlisted and will get soon) most of the usual books
for 17th century, and I'm aware of Kass's site and Nicole's and I've
looked at the Hollar engravings on costume.org and figured out what I
want to wear, so if you have any recommendations beyond that please let
me know :)

Yours,

Kirrily

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Subject: Re: [h-cost]  email questions Re: Primary? Secondary?
Date: Thu, 6 Nov 2003 10:58:06 +1300
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As I have a  few resourse sites within my site it's rather amusing comparing
the emails I get from each one.

The best one was for my Moulin Rouge costuming site:

" Hello!!! Any of these pages sound AMAZING :) I\'m looking for any
thumbnails, sketches etc. by Catherine Martin. If you could provide me with
some addys relating to such topics, I would be VERY appreciative (atm I
can\'t find anything!:( Thankyou soooooooooo much for taking the time 4
this..."

The whole site *is* a bundle of links so I have no idea what people are
doing not knowing that you click on a link... I even have the links written
as urls to avoid any confusion.... yet they managed to fill out the mail
form.... odd odd odd.

Then again I keep getting some guy and his fetish for rustling skirts
emailing me as well...

Personal site I got (re another Moulin Rouge costume I'm guessing) "where
did you get the feathers and the corset cause i would love to know?????"

It does say on the page how I drafted and sewed it all...

And other example of people asking for the impossible:
" hello, I have been searching for a long while on the internet for the
black diamonds outfit. If you could send me the pattern it would be greatly
appreaciated"

Why yes, I drafted my pattern to fit me and I'm just going to send you the
pattern and all the info for free!

And this:
"WHERE WHEN DID YOU RECEVIE YOUR TRAING ON HOW TO MAKE THOSE BIG BEAUTIFUL
HATS TITINAC OR ADUREY HEPBURN IN MY FAIR LADY I WOULD LIKE TO LEARN TO MAKE
THESE HAT PLEASE E-MAIL ME WITH ANY INFORMATION HOW I CAN LEARN FROM A BOOK
CORRESPONDENE "

Just a sample of the latest great emails;)

that said when someone is absolutely busting with enthusiasm for a project
they are doing that I have done I'm generous with my time and share
experiences.

And people have been wonderfully generous with their own praise which is
always lovely:)

michaela
http://costumes.glittersweet.com


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> It seems to be very good for this era, with portraits indexed by
> sitter and painter.  Lots of scholarly commentary.  Most pics in B & W
> :(, but some in color.  The interesting thing is that the color ones
> are separate plates that are attached to the page by the top edge
> only.  I'm sure it was done as a cost thing - printing the picture
> only and inserting it into the book has to cost less than printing a
> whole page in color and then having to make sure it's bound in
> separately.  It's pub date is 1969 and it was done in Britain.  More
> info if anyone wants it.

This was because they couldn't just print out color pictures easily 
in 1969. So, they printed it out whatever way they could, then 
inserted into the book which was otherwise printed by a different 
method. What's amazing is that when I bought a new copy of this in 
1984 (with my first post-residency pay check) they were still 
printing them this way.

Kat
<kat@redtrollforge.com>


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> Nah,  I was thinking of Judith with the head of Holofernes.  Lovely
> red with gold horizontal stripes on the skirt, far from your face.
> 
> Let's see, who can we get to play Holofernes?  How about W***?
> 
> Regina

Naughty Regina. However, I think that A****** might be an even better 
one than that. But it's a tossup!

Kat
<kat@redtrollforge.com>


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> If the Scottish is Lowland Scottish you might be more English than
> you think *grin* Or it could just be that standard genetic variation
> within any one regional group is sufficent to produce people who look
> fabulous in a style and people who look terrible in it. In which case
> we're right back to 'I would have looked terrible in it in period'.
> Claire

I know that the originator of my last name (Russell) is English, but 
that person emigrated (rather hurredly, the family records indicate 
due to some major religious differences) to Scotland during Mary I's 
reign. (Daddy and big brother fared much better. Look at the Duke of 
Bedford's family to see what the primary line did.) However, they 
were part of the Highland clearances. (Most of them were either 
weavers or Presbyterian ministers.)

Mom's family came from a town at the head of Loch Tay called Killin 
(which was also the family's last name). I don't know if that is 
considered Highland or Lowland. (Jean, do you know?)

However, I wouldn't cavil at being considered English for all that. 
In terms of genetics the Scots and the English are pretty similar 
mixes.

Most of the facial type mixing seems to occur in shifts. That's why 
some places had more specific facial types in some areas. Things 
would change after a wave of migration came through. And what the 
predominant mix looked like depended on what had come through and 
when.

However, no matter how well you know your current geneology, chances 
are that you wouldn't necessarily look like someone from the same 
area 500 years ago (because of those shifts.)

And there is also something my father always called the "woodpile 
effect." This is best illustrated by some of the recent studies 
showing that no matter how black or white you looked, chances are 
some of your genetic makeup had the opposite "color" in it. These 
studies are currently really causing a stir in the medical community 
because we're finding that we can't depend on people's family 
histories to figure out some sorts of genetic diseases anymore. They 
are sometimes popping up unexpectedly. It was always assumed that was 
because it was a "mutation" but there may be more to it than that. 

Kat
<kat@redtrollforge.com>


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Subject: Re: [h-cost] going to England
Date: Thu, 6 Nov 2003 09:47:44 +1100
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Send an email to the Textiles and Fashion department.

Textiles and Fashion
Tel: +44 (0)20 7942 2680
E-mail: textilesandfashion@vam.ac.uk 

(details from the website). 

They're very prompt at answering.

Glenda.
----- Original Message ----- 
From: "Sue Clemenger" <mooncat@in-tch.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 06, 2003 12:08 AM
Subject: Re: [h-cost] going to England


> Really? Any idea of who you contact to do that?
> --sue, planning ahead....
> 

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> > Sometimes a craftsman in that period would know *about* something
> > but wouldn't know enough to appropriately represent it. And they may
> > have seen a textile which they are trying to paint, but don't have
> > it in front of them to get all the textures correct.
> 
> Just grab a piece of paper and try to draw a bicycle, without looking
> at a picture. It's not as easy as it sounds, for most people, even if
> it's something we've all used and/or owned before, and seen
> frequently. 

Exactly!! What a good example!

Kat
<kat@redtrollforge.com>


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> It serves to illustrate why some of us in the SCA end up gnawing
> pencils in half.  Someone told me on an email list about a
> reproduction fork he made, and he had an actual elizabethan fork as
> his source, and he was downgraded for not citing books.

Exactly! We need better education of our durned judges. But how do 
you a) get enough people to judge and b) have them well educated 
enough to do the job properly. Balancing those two ideas is always 
the sticking point.

My husband actually brought the durn primary source in and two of the 
judges down graded him for not having photocopied pictoral sources. 
He would have actually done better if he had scanned the set of tools 
and gave them that!

Kat
<kat@redtrollforge.com>


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From: Robin Netherton <robin@shell.nightowl.net>
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On Wed, 5 Nov 2003 kat@grendal.rain.com wrote:

> And there is also something my father always called the "woodpile
> effect." This is best illustrated by some of the recent studies
> showing that no matter how black or white you looked, chances are some
> of your genetic makeup had the opposite "color" in it. These studies
> are currently really causing a stir in the medical community because
> we're finding that we can't depend on people's family histories to
> figure out some sorts of genetic diseases anymore. They are sometimes
> popping up unexpectedly. It was always assumed that was because it was
> a "mutation" but there may be more to it than that.

One reason for that is that true "family history" is often distilled down
to "race" or "ethinicity" or "skin color," which is very misleading.

For instance, the oversimplification of racial labels based on skin color
means that I'm designated as "white" these days, on my medical records and
everywhere else, though just a few decades ago I would not have been
called "white" (being of Russian Jewish heritage), because the term meant
"Western European."

But medical standards for "whites" are still based on Western Europeans.
As little as 15 years ago my doctors were routinely confused because I was
lactose intolerant, and they had been taught that that was a condition of
nonwhites, and I was clearly "white." (Meanwhile I'd been diagnosed with
all sorts of dire gastrointestinal disorders by doctors who hadn't
considered the simple explanation of lactose intolerance for my symptoms.)
Lactose *tolerance* is actually a condition common to Western Europeans,
but not to people of most other genetic backgrounds, regardless of skin
tone. And Western European genes aren't limited to a subset of
white-skinned people either, as Kat notes; the average "African American"
has far more Western European genetic influence (I think it's around 30%)
than I do, and is much more likely to be able to digest milk in adulthood
than someone of my background.

--Robin

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Subject: [h-cost] Arnegunde's artifacts
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Greetings all,

Does anyone know where the Arnegunde artifacts are being kept?  The 
Museum of Nancy did the initial work in 1962, but I can't find who has 
the artifacts now.  The Museum is now mostly Art Nouveau, so I don't 
know if they would still have the artifacts.  There were textiles found 
buried with her and I am looking for information on who has the 
garments, IF they still exist.  The only published article I could find 
is from 1964 in _Antiquity_.

Thanks!

best regards,
Althea

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From h-costume-bounces@indra.com  Wed Nov  5 20:41:29 2003
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	OT - Are u responsible for the voices in my head? was  email
	questions Re: Primary? Secondary?
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Speaking of strange questions, I used to work with radio and satellite
communications and the most frequent question I got was "my son/daughter is
doing a report on satellite communication......can you tell me something
about blah blah blah."  To which I always replied that I would be happy to
assist with the project, tell your son or daughter to give me a call.  At
least Marc is getting the students to ask him the questions.

Best question regarding radio.......Are HF radio waves from world war II
still around and can I listen to one?  Answer theoretically yes, in fact,
all crimes could be solved by amplifiying old sound waves if you could only
locate the right one and catch up to it.

Very best satellite question came from a little old lady who wanted to know
some very technical infomation about what band we transmitted on.  After
speaking to her for sometime it became apparent that she was a paranoid
schitzophrenic who was wanting to know if we were responsible for the voices
in her head.  I explained how yes we do transmit frequencies but she would
need a reciever to pick them up.  As she had once worn a first alert button
once she said she could now pick up signals without a receiver, she had an
answer/explaination for everything I proposed.  Knowing that she truely was
hearing voices, I asked her if she was getting a bill from us as we were a
commercial service and if we were sending her voices, we would also be
charging her for our services.  She said no, and was quite content after
that that the voices were being sent by someone else, probably the
competition.

Costume content - There is an emerging field of physic anthropology/history
that says you can go back in time to see any moment in history and view what
transpired.  I must ask one of these people about those iron corsets and
their true use!


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] 17th century resources
Date: Wed, 5 Nov 2003 22:12:15 -0500
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On Wednesday 05 November 2003 04:23 pm, Kirrily Robert wrote:
> I hope nobody minds me asking a more general question which is not
> specifically about costume.
>
> It looks like I might be getting involved in a group which does 17th
> century (England, late 1630s, to be exact).  Does anyone have
> recommendations for resources for that period which are *not*
> specifically military?  I am interested in general living history
> resources for the most part, and ideally would like to find a 17th
> century living history mailing list.  If there is no such mailing list,
> would those who do 17th century civilian stuff (I know there are some
> here) be interested in starting one?

[snip]

I don't know of any mailing lists for 17th century, but I do know of another 
costuming site:  Caroline Vincent's:

http://www.vincents.demon.co.uk/stays/index.htm


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Wednesday 05 November 2003 07:06 pm, Althea Turner wrote:
> Greetings all,
>
> Does anyone know where the Arnegunde artifacts are being kept?  The
> Museum of Nancy did the initial work in 1962, but I can't find who has
> the artifacts now.  The Museum is now mostly Art Nouveau, so I don't
> know if they would still have the artifacts.  There were textiles found
> buried with her and I am looking for information on who has the
> garments, IF they still exist.  The only published article I could find
> is from 1964 in _Antiquity_.

This site:

http://www.hp.uab.edu/image_archive/ujg/ujgf.html

Claims they're at "(Paris: Dir. d'Antic. hist.)"   That's all I can find.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
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Subject: Re: [h-cost] Arnegunde's artifacts
Date: Thu, 6 Nov 2003 07:18:08 -0000
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In the late 90s it was here I believe
http://www.germanembassy-india.org/news/june97/76gn18.htm

Antiquity_ 1) Saint-Denis, Paris: opening of grave of Queen Arnegunde,
38:208-15
2) Cloth of Hemp, over body of Queen Arnegunde (6th century), 38:212, 287
3) Arnegunde, Queen (6th century): grave and grave-goods, 38:208-15

Gedenkschrift für Gero von Merhart zum 100. Geburtstag.
Von Otto-Herman Frey (Hrsg.)
ISBN: 3-89646-120-6

Mel


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: [h-cost] I'm Back
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Well, I am back from my three-day trip to DC for the VA high school theater
convention (VTA).  I am so very proud of my Patrick... he is a techie and
has
never acted.  He entered a workshop for playwriting... don't know what
possessed him to try this.  He has big learning disabilities in reading and
writing.  They put five kids together from five different schools... in 24
hours they had to write, block, produce, and act a play for five
minutes.  All five students had to be in the play.  Patrick had the lead
role,
did a wonderful job, and wasn't nervous.  Their group received a standing
ovation!!!  AND
they took second place in the competition of nine groups.  1st place went to
a
classmate's group from Pat's school.  These were the only awards their
school took
home.

One of the plays we saw this past weekend was "The Complete
Works of Shakespeare: Unabridged."  All done in 45 mins... then after
completing the play, they did the whole play in reverse, like rewinding on a
VCR.  It was so funny!!!!!!!  It won the VTA competition.  So they will go
to Nationals.  The three main actors were a riot... like watching Robin
Williams, Whoopi, and Billy
Crystal.  The actors played off of one another so great! This would be a
wonderful play to use at a Renn Faire.

Pat got to talk with Longwood University and they are VERY interested in him
going to school there as a theater tech major.  (Mike T. he is taking your
advice) We are going by the university this weekend, it is 1 1/2 hours away.
Then they invited Pat to work tech week for three days starting 14th for
their school play.  This way they get to try him out before accepting him.
I hope this will help him get a scholarship that the school offers.  Govt.
financial aid will cover tuition but not enough to cover all of room and
board while he is a freshman.  So please cross your fingers for Pat!!!!

I am sorry that I haven't been online much since I returned... our comcast
internet has been on and off for the past three days... more off than on.  I
won't be home much from Thursday (today) -Tuesday of next week.  My best
friend from
high school is coming to visit us.  It was 18 years ago since she was last
at our house.  So we are touring all the historic sites in our area.
Tomorrow or Friday
we are going to Agecroft Hall... originally built in the 1000s after the
Battle of Hastings and was moved to Richmond in the 1920s from England.  The
majority of the mansion is in Tudor style.  Its been on America's Castles.

Saturday, we are going to the premiere of a film that Patrick worked techie
work
on last summer.  It is at a film festival and critics from all over the U.S.
are coming in to view to view the films.  YES!!!!!!  Pat's name will be in
the credits. (We have lived for this day!) I told Pat if he gets an Oscar,
that I will run up on stage, and take it (of course in my best gown). Then
Pat can have my fake Oscar.

Susan is back from England.  When she gets over her jet-lag, I hope she will
come on the list and tell you what all she saw.  She did see the Gothic
exhibit at the V&A.

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


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] 17th century resources
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I was going to suggest Caroline Vincent's site, but Cathy has beaten me
to it. I don't know Caroline personally, but she belongs to my
reenactment society, the Sealed Knot.
http://www.sealedknot.org/index.asp 
The Living History Group is our civilian
branchhttp://www.livinghistorygroup.co.uk/ 
Not forgetting the "rival" group
http://www.english-civil-war-society.org/public_html/

I don't know of any 17c mailing lists, but there's a big 17c
reenactment community here in the UK which might provide potential
members for one.


Kate Bunting
Library, University of Derby
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Somebody (I've lost track of who) wrote:

> Don't assume that because you are English that you are not from a
> "melting pot." When you consider all the influences to England over
> the centuries you come to realize that it is not as homogenous as
you
> might think. For example, you could have both Pict (short, dark) and
> Scandinavian (tall, blond) blood.

I thought the same thing when I read Robin's earlier comment about a
group of people looking typically American because they were of varying
physical types. Even ignoring Commonwealth immigration, we British are a
pretty mixed lot. My mother (born 1912) has a fair complexion and her
hair used to be auburn; her sister is very dark, and their brother
started with fair hair which turned brown later. She told me recently
that their three cousins had the same three colourings.

Kate Bunting
Library, University of Derby
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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] OT - Are u responsible for the voices in my head? was
	emailquestions Re: Primary? Secondary?
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Lisa said
<<Costume content - There is an emerging field of physic
anthropology/history
that says you can go back in time to see any moment in history and view
what
transpired.  I must ask one of these people about those iron corsets and
their true use!>>

Lisa, now you just HAVE to elaborate on that one!

Good going with the schizophrenic woman.  I wouldn't have known what to
do yet you handled it graciously and with humour.

Kass

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <002301c3a478$32d00430$436453d8@Kass>
Subject: Re: [h-cost] OT - Are u responsible for the voices in my head?
	wasemailquestions Re: Primary? Secondary?
Date: Thu, 6 Nov 2003 16:31:23 +0100
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Hi.

Perhaps Lisa was reffering to those psykic (sorry i cant spell this right)
people who can take you back to your life before this.
Here in Denmark we have a very famous man who does that. They are showing
some peoples experienses with this in the danish television right now. They
follow the persons experienses, and then they travel to this place where
they lived before to see if they can find some of those places they were
talking about in the sessions.
As i dont believe in those kind of things, i would not try to be taken back
in time to my former lives. In my eyes it is crab.

Bjarne


----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Thursday, November 06, 2003 4:11 PM
Subject: RE: [h-cost] OT - Are u responsible for the voices in my head?
wasemailquestions Re: Primary? Secondary?


> Lisa said
> <<Costume content - There is an emerging field of physic
> anthropology/history
> that says you can go back in time to see any moment in history and view
> what
> transpired.  I must ask one of these people about those iron corsets and
> their true use!>>
>
> Lisa, now you just HAVE to elaborate on that one!
>
> Good going with the schizophrenic woman.  I wouldn't have known what to
> do yet you handled it graciously and with humour.
>
> Kass
>
> _______________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] OT - Are u responsible for the voices in my
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Bjarne wrote:
<<As i dont believe in those kind of things, i would not try to be taken
back in time to my former lives. In my eyes it is crab.>>

I think you mean the word that ends in a "p", Bjarne.  ;)

You know, it often gets discussed on costume lists how we would love to
go back in time and see how things really were.  But personally I think
that would end it for me.  Sure, I would love to know how the Irish
really made those Fram air filter hats or what medieval women used as
bust support.  But once I knew, it'd be over.  I'd have to find another
hobby.  =)

My luck I'd go back to 16th century Ireland and they'd all be wearing
drawstring-sleeved multi-coloured léinte covered in Celtic knotwork
embroidery!

Nah...  That wouldn't be back in time.  That'd be my version of hell.
Worse than Walmart between Thanksgiving and Christmas...

Kass


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In case anyone is interested: Kat is right, at one time it was common to
print color pictures separately from black and white pages, usually at a
different printer, and attach them at the top of the page. That's called
"tipping" the picture in, and the picture is a "tip-in."

Thanks to new color printing presses, digital printing techniques, and the
huge Asian printing business, we are now used to books that are nearly all
color printing. But even when I started in the magazine business about 12
years ago, this was not the case. We had to pay more to print color pages
than B&W, and an in-between rate for pages with only one color (such as a
bar of color, or a color headline). We had black & white signatures (groups
of pages) and color signatures, and everything had to be laid out carefully
or else we would get color in a b&w signature. Because magazines are printed
on large sheets of paper and then cut and collated, you can imagine that
this was a big job. We had a person on staff who specialized in arranging
("imposing") the pages correctly. Now imposition software handles all this,
and it's all color anyway (or all one- or two-color).

Most people have no idea how expensive color printing used to be. It was a
difficult craft, a real specialty, and took a lot of training.

Gail Finke


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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 17th century resources
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Kirrily Robert wrote:

> It looks like I might be getting involved in a group which does 17th
> century (England, late 1630s, to be exact).  Does anyone have
> recommendations for resources for that period which are *not*
> specifically military? 


There are a couple groups set up with Yahoo (I searched under the term 
"17th century") that look promising. Unfortunately they are are 'members 
only' with unviewable posts, so there is no way to tell if the 
discussion is pertinent, inviting, or non-military without joining the 
group.



Dawn



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Subject: Re: [h-cost] Re: separate color pages
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Boy-howdy, is Gail right about the color costs!  I work 
for several research scientists who are sending out 
manuscripts for publication to places like Journal of 
Biological Chemistry, Science, Nature and the one we sent 
out this morning, American Journal of Medical Genetics. 
When these papers are accepted for publication, the 
charges are usually about $300 per color page, $75 for b/w 
pages. (Of course, these sceintists need to publish 
because that proves that they've used the grant money 
they've been given - no publications, no new grants). 

LynnD

On Thu, 06 Nov 2003 12:39:34 -0500
  Gail & Scott Finke <gailscott@eos.net> wrote:
>
>In case anyone is interested: Kat is right, at one time 
>it was common to
>print color pictures separately from black and white 
>pages, usually at a
>different printer, and attach them at the top of the 
>page. That's called
>"tipping" the picture in, and the picture is a "tip-in."
>
>Thanks to new color printing presses, digital printing 
>techniques, and the
>huge Asian printing business, we are now used to books 
>that are nearly all
>color printing. But even when I started in the magazine 
>business about 12
>years ago, this was not the case. We had to pay more to 
>print color pages
>than B&W, and an in-between rate for pages with only one 
>color (such as a
>bar of color, or a color headline). We had black & white 
>signatures (groups
>of pages) and color signatures, and everything had to be 
>laid out carefully
>or else we would get color in a b&w signature. Because 
>magazines are printed
>on large sheets of paper and then cut and collated, you 
>can imagine that
>this was a big job. We had a person on staff who 
>specialized in arranging
>("imposing") the pages correctly. Now imposition software 
>handles all this,
>and it's all color anyway (or all one- or two-color).
>
>Most people have no idea how expensive color printing 
>used to be. It was a
>difficult craft, a real specialty, and took a lot of 
>training.
>
>Gail Finke
>
>
>_______________________________________________
>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] 17th century resources
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Dawn wrote:
> There are a couple groups set up with Yahoo (I searched under the term 
> "17th century") that look promising. Unfortunately they are are 'members 
> only' with unviewable posts, so there is no way to tell if the 
> discussion is pertinent, inviting, or non-military without joining the 
> group.

Which ones did you find?  I did that same search, and none seemed
compelling.

K.
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Kirrily Robert wrote:

> 
> Which ones did you find?  I did that same search, and none seemed
> compelling.

20  	 WimborneMilita
17th Century Reinactment group

(only five members, not sure if it is stil viable)



26  	 guyfawkes
This list is designed for those interested in the study and celebration 
of aspects of the Gunpowder Plot(England 1605). This is a general 
interest list accepting e.mail concerning all aspects- the plotters, the 
plot, bonfire celebrations, the 17th century in general....whatever! 
Remember Remember the 5th of November Gunpowder Treason and Plot. The 
list is hosted by the Center for Fawkesian Pursuits- http 
//www.bcpl.lib.md.us/~cbladey/guy/html/main.html

(11 members, see above)


35  	 the_commonwealth
In the 17th Century, after the fall of Oliver Cromwell’s 
Commonwealth—history's first communist republic—its Puritan leaders fled 
England for the Massachusetts Bay Colony. So the Commonwealth 
Government-in-Exile began, gaining hegemony through the balance-of-power 
politics of Thomas Cromwell, great-great-grand-uncle of Oliver. In the 
19th Century, before the American Civil War, the updated Ghibellinism of 
Hegel was combined with Cromwell’s geopolitics in New Haven, 
Connecticut. The resulting ... more

(not sure about the relevancy here)

64  	 livinghistorychildren
this group will debate about if diferent things are peried for 16th 17th 
and 18th century and we will just talk about different things

(5 members...)

75  	 TheRenaissanceTailor
Welcome to the Renaissance Tailor egroup... This is a discussion group 
for people interested in 16th and 17th century tailoring, embellishment 
and accessories. Focus is on techniques from Europe (mainly France, 
England and Italy) but we also explore tailoring in Eastern Europe, 
Central Asia and Northern Africa. This is the companion egroup for the 
website http //www.vertetsable.com Because of the increase in spam, 
memberships are now approved by the list admin prior to activation. In 
most cases, ... more

(259 members, this might be a go)



I have no idea if these are still active. I would suspect that all 
except the last are dead.



Dawn



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From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] 17th century resources
Date: Thu, 6 Nov 2003 14:21:18 -0500
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Kirrily wrote:
<<It looks like I might be getting involved in a group which does 17th
century (England, late 1630s, to be exact).  Does anyone have
recommendations for resources for that period which are *not*
specifically military?  I am interested in general living history
resources for the most part, and ideally would like to find a 17th
century living history mailing list.  If there is no such mailing list,
would those who do 17th century civilian stuff (I know there are some
here) be interested in starting one?>>

To the best of my knowledge, there isn't a specifically non-military
17th century list out there yet, but I would be very supportive of
starting one.  I belong to an ECW and a Thirty Years' War group but my
interest isn't military in the slightest.  Over the past year or so,
there has been a great interest in running non-military events or events
that at least had more than a "campfire" social atmosphere.  Last
December we had a Christmas gathering and we ran a small Ball at
Mid-summer.  I know that there would be people in my group who would
love to participate in such a list where we could exchange ideas and
information.  And if we manage to make the trek to each other's events
sometimes, all the better.

If you'd like a non-Yahoo place to set it up, email me privately.

She went on to say:
<<Of course, recommendations for costuming resources are also welcome :)
I have (or have wishlisted and will get soon) most of the usual books
for 17th century, and I'm aware of Kass's site and Nicole's and I've
looked at the Hollar engravings on costume.org and figured out what I
want to wear, so if you have any recommendations beyond that please let
me know :)>>

I think you hit all the highlights, Kirrily.  I don't have anything more
to add to that list at this time, but a little bird has told me that a
couple new 17th century sources are in the works.

Kass

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From h-costume-bounces@indra.com  Thu Nov  6 14:46:16 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi,
I dont know any 17th. century lists, if you find one, i would be interrested
two.
You are a lucky person that you have such a company near you.
Important sources is also diary'es autobiografy and the like. There is
Peppy's diary and i know of a wonderfull danish autobiografy, Leonora
Christina, daughter of king Christian IV of Denmark, wrote a large
autobiografy. I think it is translated to english, but i dont know the
english title. In danish it is "Jammersminde"
She was born in 1621 at Frederiksborg Castle, Denmark.
She had a sad history. Her husband was later judged for treason, and was
hunted all over Europe. They never got him, but in stead they arrested his
wife Leonora, and she was taken to the blue tower of Copenhagen Castle where
she spend 23 years in a terrible prison.
She was Denmark's first lady, and the later queen envied her manners and
splendid taste in fashion. She was partially raised by dutch relative family
and she spended a lot of her life in splendour.
Her family found her diarry in the end of 20th. century in the attic of
their castle in Switzerland. Now the original book is at Frederiksborg
Castle,  exhibited.
I have read her book 3 times, and actually i think i want to read it again.

Bjarne


----- Original Message -----
From: "Kirrily Robert" <skud@infotrope.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 05, 2003 10:23 PM
Subject: [h-cost] 17th century resources


> I hope nobody minds me asking a more general question which is not
> specifically about costume.
>
> It looks like I might be getting involved in a group which does 17th
> century (England, late 1630s, to be exact).  Does anyone have
> recommendations for resources for that period which are *not*
> specifically military?  I am interested in general living history
> resources for the most part, and ideally would like to find a 17th
> century living history mailing list.  If there is no such mailing list,
> would those who do 17th century civilian stuff (I know there are some
> here) be interested in starting one?
>
> Of course, recommendations for costuming resources are also welcome :)
> I have (or have wishlisted and will get soon) most of the usual books
> for 17th century, and I'm aware of Kass's site and Nicole's and I've
> looked at the Hollar engravings on costume.org and figured out what I
> want to wear, so if you have any recommendations beyond that please let
> me know :)
>
> Yours,
>
> Kirrily
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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And there's always the GAS Company  =  the Guild of Gentry and Allied Skills

www.thegasco.org   I think.

Jill



Sir Thomas Tyldesley's Regiment of Foote

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> Nah...  That wouldn't be back in time.  That'd be my version of hell.
> Worse than Walmart between Thanksgiving and Christmas...
> 
> Kass

NOTHING is worse than WalMart between Thanksgiving and Christmas

Dianne


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] new books for my library
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Hi.
Today i got 4 books i had ordered some time ago from Amazon.
The best one of them is "Silk" by Jacques Anquetil. The book is in english,
but i think the author is french.
It has wonderfull large pictures of interresting silk fabrics, costumes and
the like in the same quality as Fashion in Detail. The best picture is a
photo in colour of a fine early 18th century court bodice, wonderfully
embroidered :-)
It also has some wonderfull fully coloured large portraits, amongst them is
the portrait of Elizabeth in the embroidered forepart, also seen in the book
by Arnold.
And some wonderfull paintings by Jean Antoine de 'Troy, wich i have never
seen before.
I have seen old watercolour drawings of this bodice before, but it is nice
to see in in the flesh.
It shall be interresting to read all about the
Spital Fields silks.
The book is pricy, but i think it is worth the money, the pictures is. It is
the history of  Silk.
Then i got Dynasties, as some of you recomended to me.
And then i got printed textiles in England from 17 something and forwards,
and the same series with wowen textiles.
These books will be a treassure for me, because they are packed with lovely
lovely inspiration for embroidery.

Just a little for those who dont know these books.


Bjarne

Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Dear Kass,
You wrote:

You know, it often gets discussed on costume lists how we would love to
go back in time and see how things really were.  But personally I think
that would end it for me.  Sure, I would love to know how the Irish
really made those Fram air filter hats or what medieval women used as
bust support.  But once I knew, it'd be over.  I'd have to find another
hobby.  =)

My luck I'd go back to 16th century Ireland and they'd all be wearing
drawstring-sleeved multi-coloured léinte covered in Celtic knotwork
embroidery!

Nah...  That wouldn't be back in time.  That'd be my version of hell.
Worse than Walmart between Thanksgiving and Christmas...

Kass

I have often thoaght about this also. I would love to go back to the 18th
century, but please in the upper class.
It would be a nightmare to live by the poor.
And about this costume wise, i also think that if i had ben living then, i
would have gotten used to see all this splendour, and perhaps i would be an
ignorant in the end and wouldnt notice all those beautifull clothes, because
i would be seeing them all the time.

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Dawn wrote:
> I have no idea if these are still active. I would suspect that all 
> except the last are dead.

That was my assumption, yes.  I did sign up for the renaissance tailor
list, though.

K.

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Dianne & Greg Stucki wrote:

> 
> NOTHING is worse than WalMart between Thanksgiving and Christmas
> 

Except maybe Joann's on the day after turkey day ....



Dawn



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Subject: Re: [h-cost] Arnegunde's artifacts
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In a recent search for more information on Arnegunde, I found this article
on the Osberg Queen. Here it is for those who may be interested.

Sheridan

http://www.forest.gen.nz/Medieval/articles/Oseberg/dress/OSEBERG.HTM


*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*+*

They say that the pen is mightier than the sword,
but which one would you rather be hit with?




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Subject: [h-cost] Textile Museum of Canada
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I had no idea that there was a textiles musem here in Canada! Looks like I
am going to have to plan a field trip to Toronto...

 http://www.museumfortextiles.on.ca/

Sheridan/Maiwen



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Subject: Re: [h-cost] Textile Museum of Canada
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Sheridan wrote:
> I had no idea that there was a textiles musem here in Canada! Looks like I
> am going to have to plan a field trip to Toronto...
>
>  http://www.museumfortextiles.on.ca/

I contacted them a while ago asking if they had any items from the 17th
century or earlier.  They said no, they mostly have later stuff.  Just
FYI, in case you are into medieval/renaissance textiles in particular.

K.
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Date: Thu, 6 Nov 2003 15:39:47 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] are you responsible for
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>And about this costume wise, i also think that if i had ben living then, i
>would have gotten used to see all this splendour, and perhaps i would be an
>ignorant in the end and wouldnt notice all those beautifull clothes, because
>i would be seeing them all the time.
>
>Bjarne

OK, so when exactly was the change over from showing your wealth in 
what you wear, to hiding your wealth by wearing jeans and tees????

I'm thinking it was in the late '60's that it became uncool to "dress 
up".   Up until then, women still wore nice dresses and guy still 
wore suits, and people still dressed for the theatre or for dinner.

It's so bad now that a friend of mine told me someone made fun of him 
for wearing a suit out to a nice dinner on a Friday night.   Not a 
flashy suit, nothing crazy, just a nice dark Armani suit with a nice 
tie.

Was it when television finally took hold?   Or the Car Culture? (ever 
try to drive in a hoop skirt or bustle???)  Did the Hippies make it 
happen? (I don't think so, but perhaps that movement contributed...) 
What was it that changed in our society that made it only ok to dress 
up for the Oscars??????  (and then only if you're on the red carpet).

Would love to hear your theories...

Rima
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From h-costume-bounces@indra.com  Thu Nov  6 19:06:54 2003
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Subject: Re: [h-cost] are you responsible for
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Hi Rima,

     Not necessarily the Hippies, but I think the baby boom generation did it.  
Older generations are certainly taking advantage of the more casual modes of 
dress, but that's also cultural.  I always thought it was interesting in 
England, I would see ladies and gentlemen over 60 wearing skirts and hose or 
tweed jackets, respectively.  Where are their sweatsuits, like Americans of the 
same age wear? :-)

     -Carol


> Was it when television finally took hold?   Or the Car Culture? (ever 
> try to drive in a hoop skirt or bustle???)  Did the Hippies make it 
> happen? (I don't think so, but perhaps that movement contributed...) 
> What was it that changed in our society that made it only ok to dress 
> up for the Oscars??????  (and then only if you're on the red carpet).

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From h-costume-bounces@indra.com  Thu Nov  6 19:10:18 2003
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Rima wrote:

  > I'm thinking it was in the late '60's that it became uncool to "dress
> up".   Up until then, women still wore nice dresses and guy still wore 
> suits, and people still dressed for the theatre or for dinner.

I wouldn't be surprised if the bicentennial in 1976 got a lot of people 
reading "All men are created equal..." and looking at casual dress as 
one of those equalizers. When did 'casual Friday' make its entrance into 
the workplace? Mid 1980's? That would be about when the children born in 
the 60's to parents who thought suits were 'uncool' would start to enter 
the workforce.

Interesting topic for thought.



Dawn




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Subject: Re: [h-cost] are you responsible for
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>Rima wrote:
>
>  > I'm thinking it was in the late '60's that it became uncool to "dress
>>up".   Up until then, women still wore nice dresses and guy still 
>>wore suits, and people still dressed for the theatre or for dinner.
>
>I wouldn't be surprised if the bicentennial in 1976 got a lot of 
>people reading "All men are created equal..." and looking at casual 
>dress as one of those equalizers. When did 'casual Friday' make its 
>entrance into the workplace?

Hmmmmmmmmm  another good point.   I think 1970 was the first year a 
girl could wear pants to Middle School in Los Angeles....

>  Mid 1980's? That would be about when the children born in the 60's 
>to parents who thought suits were 'uncool' would start to enter the 
>workforce.

could be....  

>Interesting topic for thought.
>
>Dawn

Would be fun to read a book about it around about the year 2250.....

Rima
eat right, exercise.... maybe I could make it.....  or not......
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Subject: Re: [h-cost] are you responsible for
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>Hi Rima,
>
>      Not necessarily the Hippies, but I think the baby boom 
>generation did it. 
>Older generations are certainly taking advantage of the more casual modes of
>dress, but that's also cultural.  I always thought it was interesting in
>England, I would see ladies and gentlemen over 60 wearing skirts and hose or
>tweed jackets, respectively.  Where are their sweatsuits, like 
>Americans of the
>same age wear? :-)
>
>      -Carol

Good point.  The English, with their strong traditions, have held on 
to "Dressing" a lot longer than us wayward Yanks.  ;-D   Same thing 
some places in the south.   And in the Black community, where they 
still dress for church.  I always LOVE to see the after-church crowd 
go out for brunch on Sunday.   They always look FABULOUS!   Without 
them, there would not be a single hat in America that wasn't a 
baseball cap.  ;-/

Theories anyone????

Rima
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At 05:14 PM 11/6/2003 -0500, you wrote:
>I had no idea that there was a textiles musem here in Canada! Looks like I
>am going to have to plan a field trip to Toronto...
>
>  http://www.museumfortextiles.on.ca/
>
>Sheridan/Maiwen

It is an interesting place.  I used to live in Toronto and have been there 
multiple times.  They are absolutely tiny, located next to a hotel in 
downtown Toronto.  Most of their stuff on display is from current textile 
artists or a particular "ethnic" style/type. There is almost no historical 
clothing or accessories on display.  Other museums have much better 
clothing collections, especially the one in Manitoba whose name escapes me 
at the moment.  However, they do have a pretty good library of textile 
books you can go in and use.

Cheers,

Danielle

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
Date: Thu, 6 Nov 2003 18:48:00 -0700
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I thought the same thing when I read Robin's earlier comment about a
group of people looking typically American because they were of varying
physical types. Even ignoring Commonwealth immigration, we British are a
pretty mixed lot. My mother (born 1912) has a fair complexion and her
hair used to be auburn; her sister is very dark, and their brother
started with fair hair which turned brown later. She told me recently
that their three cousins had the same three colourings.

Kate Bunting
Library, University of Derby

[Sg] Thanks for sharing that...it struck me as a little odd too.  Anyone who
has spent some time in Europe knows that it is pretty mixed.   Even in the
70's living in Germany there were considerable variations in folks living
there.  (I remember a very dark African complete with facial tattoos
approaching me in Hamburg and saying how beautiful I was....I was thirteen
and scared to death!  I have often been mistaken for being mulatto [in spite
of extremely pale skin and very Aryan features-except for my nose])  I mean
after all Europe is a lot closer to Africa and the middle east!  Now Iceland
and Greenland might be a different story!  What I do remember very clearly
is that we were easily identifiable as American because of the way we
dressed.  Used to be that I could pick out European tourists here by the way
they dressed and did their hair.  Now with the way kids are dressing and
doing their hair I am often mistaken.

Sg

Sg




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Subject: Re: [h-cost] are you responsible for
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----- Original Message ----- > >I wouldn't be surprised if the bicentennial
in 1976 got a lot of
> >people reading "All men are created equal..." and looking at casual
> >dress as one of those equalizers. When did 'casual Friday' make its
> >entrance into the workplace?


I know that, as an engineer at Ford Motor Co, my dad dressed "business
casuaL' the last few years before he retired. But I remember watching him
get ready for work when he wore suits every day, and I admired him so. He's
a handsome man anyway, and he had this stunning long wool overcoat--I was so
proud of my handsome, well dressed daddy!

My husband is a dj, and dresses very casually for work. But when he is doing
a wedding or party, and dresses up..well, there are few things more
attractive than a man in a good suit!

Dianne

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From h-costume-bounces@indra.com  Thu Nov  6 21:03:36 2003
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From: Rima <rima@anet.net>
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Subject: [h-cost] Typing people by background, clothes, and stuff...
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><snip> What I do remember very clearly
>is that we were easily identifiable as American because of the way we
>dressed.

My friends in Europe tell me that the shoes are a dead give-away.  As 
soon as they see Nikes they know where you're from.   ;-D   Which 
explains why my hubby and I usually fool them.   All his shoes are 
made in England, and most of mine (that aren't hand made by people 
like you guys) from Germany.   But I speak French and a little 
Italian.   We're very confusing.  ;-D

>Used to be that I could pick out European tourists here by the way
>they dressed and did their hair.  Now with the way kids are dressing and
>doing their hair I am often mistaken.

Ah, but the dead give-away for THEM is that, although their tees and 
jeans have English written all over them, most of the time it's 
wrong, doesn't make sense (or only makes sense to them).... 
especially true in Italy, where we saw kids wearing stuff that was 
hilarious!

Still musing on the other thing....
So, is our penchant for "plain" jeans and tees anything like the 
Puritan backlash ( but obviously  inspired by different motives) ? 
I mean, going from tight waists and floofy crinolines in the 50's and 
early 60's, to wild and crazy Hippie stuff in the 60-70's....   Did 
we, as a culture, say "enough!"???   Could we not deal with 
expressing ourselves that much?

But then again, how much expression could someone in Elizabeth's 
court have, after all?   She still had to wear her underpinnings, 
gown, and all... the same silhouette as every other lady there.   She 
couldn't show up in a kirtle and sideless gown, now could she??? 
Maybe that's why Shakespeare wrote so many cross-dressing roles - it 
was the only way the ladies could (in theory only, of course, since 
the guys were playing the roles anyway) get out of their corsets.

Rima
so many questions.....
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To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
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>My husband is a dj, and dresses very casually for work. But when he is doing
>a wedding or party, and dresses up..well, there are few things more
>attractive than a man in a good suit!
>
>Dianne

AMEN!   Tuxedoes and kilts improve EVERY man.

Rima
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] are you responsible for
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On Thursday 06 November 2003 07:12 pm, Dawn wrote:

[snip]
> When did 'casual Friday' make its entrance into
> the workplace? Mid 1980's? That would be about when the children born in
> the 60's to parents who thought suits were 'uncool' would start to enter
> the workforce.

Not in Philadelphia law firms, it didn't.  Not that early.

I  was in the workplace by mid-1985, and there was no such thing as casual 
Friday in the law firm culture then.

A few maverick firms started doing the casual Friday thing around 1993 or 
1994. At that point, we adopted a system whereby you could wear casual dress 
on Fridays, but only if you paid an agreed-upon amount to the firm (the 
amount varied according to whether you were a partner. associate, or support 
staff).  At the end of the year, the firm gave the amount collected to 
charity.

At the beginning of the dot.boom, a huge Philadelphia firm called Morgan, 
Lewis & Bockius adopted a "casual day most of the time" policy, and literally 
within days, most of the law firms in Philadelphia, including mine, had 
followed suit.  

Some of those firms switched back to business dress after the bust, but we've 
kept the business casual policy.  


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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	Psychic Archaeology -  OT - Are u responsible for the voices in my
	head? wasemailquestions Re: Primary? Secondary?
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> Lisa said
> <<Costume content - There is an emerging field of physic
> anthropology/history
> that says you can go back in time to see any moment in history and view
> what
> transpired.  I must ask one of these people about those iron corsets and
> their true use!>>
>
Kass wrote  Lisa, now you just HAVE to elaborate on that one!
>

Psychic Archaeology is the proper term, sorry.  I only heard about it
because I flipped through the book "Psychic Archaeology : Time Machine to
the Past - Goodman, Jeffrey" some time ago at the book store.  Didn't buy
it.  Wouldn't buy it............although what I glanced at COULD possibly
happen in my view of the world, but because ......... well, I've had quite a
few prophetic dreams in my life, not that I can tell the future, but I often
have the experience of running into something I had previously dreamt about.
Another way to say this is, I can match up events in my life with dreams
that I've had, not that I can tell the future from my dreams.  This
experience is compatible with the theory that there is no time or space and
we all share the same consciousness.  Now in terms of psychic archaeology, I
could very well have a dream about the way wheel farthingales were
constructed and where the bents were used, but because there is no time or
space, I wouldn't really know if I was dreaming about the past as it was, or
some reenactor's faulty theory that I had yet to run into in the future
because in the psychic world there is no time or space and people blur into
one another.  The author did not address this issue from my quick glance at
the book so I found it quite lacking.

For those still interested in reading further - Marc Carlson might find this
interesting as it involves his web site on shoemaking......On January 2,
1996 I had a very lengthy dream with a very peaceful quality about
it.....the following is a part of the dream.

"I returned to my home which was a magnificent palace.  The main room when I
returned no longer had lino flooring but was of beautiful polished wood, the
room was filled with light, with beautiful gauze curtains that draped around
the lead crystal windows that were now topped with arched or domed windows.
There may have been some upholstered sofas and floor rugs too but mostly
there was light and space.

I was aware that this would be very expensive to maintain and that I would
need to rent out part of the palace for income.  In the left wing I saw a
flash of a room that was had a pool table in it.  There were also some Xmas
type lights.  At first I thought it might relate to the casino, but then I
understood it was the "game room" ........

I then was aware of another room ...............The room was small, but not
too small.  It was of light wood flooring and light wood paneling.  There
was a oak or similar wood chest of drawers with probably four drawers and
probably simple brass handles.  On top of this chest of drawers was a sign
like a piece of fine linen or cotton paper, folded in half and placed on the
top like a name tag but of different proportions.

I remember being aware of the dresser and the card.  The card probably gave
some instructions as to what occurred in this room.  There were no chairs.
I then became aware of a man with Dr.Spelta's coloring.  Then I became aware
of a white negative relief impression of a face made of either plaster of
Paris or paper machie or paper pulp.

I wasn't quite sure what the purpose of these things were but I was aware it
was for a business of some sort.  That this was a space I rented out to a
business so I could maintain the palace.

The man understood that I did not understand what went on here.  He gently
explained that what he did here was or what the business was was a place
where people could come who wanted to increase their contact with other
people, it served as a bit of a dating agency, sort of.  What happened was
people would come there and stick there face into a block of white stuff
which was malleable and an impression of their face would be made in the
white plaster.  When dried the impression would be photo copied and sent off
to people (men) who might be interested in meeting the person who did the
impression.

I thought about this and couldn't work out how the impression could be
placed on a photo copier and a copy of it be produced.  Also, I was aware
that it was a c copy of the impression or mask that was being sent out.  The
impression wasn't used to make a copy of the face to be sent out."

What eventually happened, was in May or June of 1998 I joined a living
history group that met in the Old Queensland Museum which looks like a
palace.  In order to pay for the rent of their meeting space, one of their
performances was at the Treasury casino.  In order for me to perform at the
Treasury casino show, I had to make my outfit which included a pair of shoe.
Robert Hook, who has the same first name as Dr. Robert Spelta gave me a
piece of paper with his home page on it, his home page name was
rhook.homepage or something similar, it had his name on it......and his web
page had a link to Marc Carlson's web site which contained instructions as
to how to make shoes.  I made them in my bedroom which had dressers but no
chairs.  I left the piece of paper with the website address on my dresser.
I believe somewhere on Mark's web page, there is a line that says, don't
just photocopy and enlarge these patterns and expect them to fit.  I also
made a plaster of paris last out of an old shoe, but first I had to use
masking tape to cover the holes.

I also met a man  there who said he, as an art exercise, had friends poke
their faces into something and then he made plaster masks from the
impressions.  This person was also transgendered, so in order for the guys
in the group to like him/her and not get rejected, he pretty much passed out
photocopies of the mask he psychologically wore, he did not let people see
his real face or let them know he really identified as being a woman.

So with this and similar experiences I view "psychic" archaeology and time
travel, as possibilities but know claims are also often fraudulent.  The
study of consciousness is the new frontier so maybe in the future there will
be a more rigorous examination of what some of us to truly experience and
some of the scammers will be weeded out and we might learn a bit more about
the world we live in.  Don't know about the past, but I wouldn't mind just a
peek every once and awhile.

Lisa Sinervo





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   "Historical Costume" <h-costume@indra.com>
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	Re: Psychic Archaeology -  OT - Are u responsible for the voices in
	my head? wasemailquestions Re: Primary? Secondary?
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Forgot the links.

http://www.occultopedia.com/p/psychic_archaeology.htm

http://www.occultopedia.com/p/psychic_archaeology.htm

and here's the old queensland museum, looks like a palace with arched
windows http://www.qyoc.org.au/museum.htm

In case anyone is wondering, no I can't read tarot cards, palms, nor do I
have any psychic abilities on tap, but I do now about the symbolic logic of
dreams.  Sometimes what I dream shows up in a book or a movie instead of
real life which isn't real great for prophetic accuracy!  A career in
psychic archaeology is not an option for me!

Lisa

----- Original Message -----
From: "Lisa Sinervo" <Lisa-list@Thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 06, 2003 7:23 PM
Subject: Psychic Archaeology - OT - Are u responsible for the voices in my
head? wasemailquestions Re: Primary? Secondary?


>
> > Lisa said
> > <<Costume content - There is an emerging field of physic
> > anthropology/history
> > that says you can go back in time to see any moment in history and view
> > what
> > transpired.  I must ask one of these people about those iron corsets and
> > their true use!>>
> >
> Kass wrote  Lisa, now you just HAVE to elaborate on that one!
> >
>
> Psychic Archaeology is the proper term, sorry.  I only heard about it
> because I flipped through the book "Psychic Archaeology : Time Machine to
> the Past - Goodman, Jeffrey" some time ago at the book store.  Didn't buy
> it.  Wouldn't buy it............although what I glanced at COULD possibly
> happen in my view of the world, but because ......... well, I've had quite
a
> few prophetic dreams in my life, not that I can tell the future, but I
often
> have the experience of running into something I had previously dreamt
about.
> Another way to say this is, I can match up events in my life with dreams
> that I've had, not that I can tell the future from my dreams.  This
> experience is compatible with the theory that there is no time or space
and
> we all share the same consciousness.  Now in terms of psychic archaeology,
I
> could very well have a dream about the way wheel farthingales were
> constructed and where the bents were used, but because there is no time or
> space, I wouldn't really know if I was dreaming about the past as it was,
or
> some reenactor's faulty theory that I had yet to run into in the future
> because in the psychic world there is no time or space and people blur
into
> one another.  The author did not address this issue from my quick glance
at
> the book so I found it quite lacking.
>
> For those still interested in reading further - Marc Carlson might find
this
> interesting as it involves his web site on shoemaking......On January 2,
> 1996 I had a very lengthy dream with a very peaceful quality about
> it.....the following is a part of the dream.
>
> "I returned to my home which was a magnificent palace.  The main room when
I
> returned no longer had lino flooring but was of beautiful polished wood,
the
> room was filled with light, with beautiful gauze curtains that draped
around
> the lead crystal windows that were now topped with arched or domed
windows.
> There may have been some upholstered sofas and floor rugs too but mostly
> there was light and space.
>
> I was aware that this would be very expensive to maintain and that I would
> need to rent out part of the palace for income.  In the left wing I saw a
> flash of a room that was had a pool table in it.  There were also some
Xmas
> type lights.  At first I thought it might relate to the casino, but then I
> understood it was the "game room" ........
>
> I then was aware of another room ...............The room was small, but
not
> too small.  It was of light wood flooring and light wood paneling.  There
> was a oak or similar wood chest of drawers with probably four drawers and
> probably simple brass handles.  On top of this chest of drawers was a sign
> like a piece of fine linen or cotton paper, folded in half and placed on
the
> top like a name tag but of different proportions.
>
> I remember being aware of the dresser and the card.  The card probably
gave
> some instructions as to what occurred in this room.  There were no chairs.
> I then became aware of a man with Dr.Spelta's coloring.  Then I became
aware
> of a white negative relief impression of a face made of either plaster of
> Paris or paper machie or paper pulp.
>
> I wasn't quite sure what the purpose of these things were but I was aware
it
> was for a business of some sort.  That this was a space I rented out to a
> business so I could maintain the palace.
>
> The man understood that I did not understand what went on here.  He gently
> explained that what he did here was or what the business was was a place
> where people could come who wanted to increase their contact with other
> people, it served as a bit of a dating agency, sort of.  What happened was
> people would come there and stick there face into a block of white stuff
> which was malleable and an impression of their face would be made in the
> white plaster.  When dried the impression would be photo copied and sent
off
> to people (men) who might be interested in meeting the person who did the
> impression.
>
> I thought about this and couldn't work out how the impression could be
> placed on a photo copier and a copy of it be produced.  Also, I was aware
> that it was a c copy of the impression or mask that was being sent out.
The
> impression wasn't used to make a copy of the face to be sent out."
>
> What eventually happened, was in May or June of 1998 I joined a living
> history group that met in the Old Queensland Museum which looks like a
> palace.  In order to pay for the rent of their meeting space, one of their
> performances was at the Treasury casino.  In order for me to perform at
the
> Treasury casino show, I had to make my outfit which included a pair of
shoe.
> Robert Hook, who has the same first name as Dr. Robert Spelta gave me a
> piece of paper with his home page on it, his home page name was
> rhook.homepage or something similar, it had his name on it......and his
web
> page had a link to Marc Carlson's web site which contained instructions as
> to how to make shoes.  I made them in my bedroom which had dressers but no
> chairs.  I left the piece of paper with the website address on my dresser.
> I believe somewhere on Mark's web page, there is a line that says, don't
> just photocopy and enlarge these patterns and expect them to fit.  I also
> made a plaster of paris last out of an old shoe, but first I had to use
> masking tape to cover the holes.
>
> I also met a man  there who said he, as an art exercise, had friends poke
> their faces into something and then he made plaster masks from the
> impressions.  This person was also transgendered, so in order for the guys
> in the group to like him/her and not get rejected, he pretty much passed
out
> photocopies of the mask he psychologically wore, he did not let people see
> his real face or let them know he really identified as being a woman.
>
> So with this and similar experiences I view "psychic" archaeology and time
> travel, as possibilities but know claims are also often fraudulent.  The
> study of consciousness is the new frontier so maybe in the future there
will
> be a more rigorous examination of what some of us to truly experience and
> some of the scammers will be weeded out and we might learn a bit more
about
> the world we live in.  Don't know about the past, but I wouldn't mind just
a
> peek every once and awhile.
>
> Lisa Sinervo
>
>
>
>


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Facial and body types & costume (was: hair)
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On Thu, 6 Nov 2003, Saragrace T. Knauf wrote:

> I thought the same thing when I read Robin's earlier comment about a
> group of people looking typically American because they were of
> varying physical types.

I was just reporting what was said on a thread here on h-cost, by several
of the European observers of a series of portraits taken at an American
SCA event.

I don't think anyone was saying that all people from a given European
country looked alike, but rather that there was a more noticeable (to
them) range of difference in the collection of Americans they saw. (I
wouldn't be surprised if an average group of American re-enactors includes
people with Asian, black, Middle Eastern, Native American, and hispanic
features as well as various European types, and more unusual combinations
of coloring and features, not just the sort of range of hair color and
complexion that the previous poster gave as an example.) I wasn't the one
making the observations, but they made sense to me.

The other observation that the Europeans made, if I recall correctly, was
that the American group had a much larger proportion of overweight people
than they saw in their European groups. This sparked an interesting thread
too, but that's a topic we've delved into several times on this list in
the past.

--Robin

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Actually, Saragrace was quoting me. I did say "ignoring Commonwealth
immigration" - we have all these physical types (except Native American)
here too nowadays, though it's true I don't see many people from ethnic
minorities involved in reenactment.

Kate Bunting
Library, University of Derby

>>> robin@shell.nightowl.net 11/07/03 07:38am >>>

>On Thu, 6 Nov 2003, Saragrace T. Knauf wrote:

>> I thought the same thing when I read Robin's earlier comment about
a
>> group of people looking typically American because they were of
>> varying physical types.
[snip]

>I don't think anyone was saying that all people from a given European
>country looked alike, but rather that there was a more noticeable (to
>them) range of difference in the collection of Americans they saw. (I
>wouldn't be surprised if an average group of American re-enactors
includes
>people with Asian, black, Middle Eastern, Native American, and
hispanic
>features as well as various European types, and more unusual
>combinations of coloring and features, not just the sort of range of
hair >color and complexion that the previous poster gave as an example.)
I >wasn't the one making the observations, but they made sense to me.


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Date: Fri, 7 Nov 2003 02:58:16 -0800 (PST)
From: Lee Thompson-Herbert <lee@retro.com>
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Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> [snip]
> > When did 'casual Friday' make its entrance into
> > the workplace? Mid 1980's? That would be about when the children born in
> > the 60's to parents who thought suits were 'uncool' would start to enter
> > the workforce.
> 
> Not in Philadelphia law firms, it didn't.  Not that early.
> 
> I  was in the workplace by mid-1985, and there was no such thing as casual 
> Friday in the law firm culture then.

You can thank the computer industry for 'casual Friday,' I think.  I remember
that by 1986-87, the "Friday Beer Bash" was already becoming common.  I first
saw that at Apple Computer, but other companies started following suit.

[...]
> At the beginning of the dot.boom, a huge Philadelphia firm called Morgan, 
> Lewis & Bockius adopted a "casual day most of the time" policy, and literally 
> within days, most of the law firms in Philadelphia, including mine, had 
> followed suit.  

Then again, at Apple, it was de rigeur to wear your project tshirt.  Every
project group had their own shirts made up, usually with the "top secret"
code name for their latest piece of hardware or software.  That was late 80s.
Even Apple's gone through a couple culture changes since then.  

> Some of those firms switched back to business dress after the bust, but we've 
> kept the business casual policy.  

Computer companies that have survived the dotbomb have gotten much less 
lenient about dress codes.  Though Intel (where I heard the most complaints)
has always been on the conservative side of the industry.  

I dunno, I always thought the cookie cutter "casual" look of blue oxford
shirt, kakhis, and either white leather sneakers or brown topsiders was 
pretty lame myself.  It still suffered from the problem of many people not
having any creativity in dress.  So when they ditched the suits, they just
picked another uniform.  Even when I wore a suit (I'm female, wearing a 
3-piece suit was unusual), I tried to make it look interesting.  Silk vests
and ties, dress shoes and boots that weren't the two or three styles that
everyone else wore, shirts that had embroidered details.  It wasn't really 
all that hard to find any of those things, I just had to actually *think*
about how the outfits would look.

But now I'm disabled, and I no longer even present papers at technical
conferences, so I have no reason to wear a suit.  My husband stole my 
spiffy ties a couple years ago, so at least those are still being worn.
I'm now practicing to be a batty auntie, like in "Practical Magic." ;}

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: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Psychic Archaeology -  OT - Are u responsible for the
	voices in myhead? wasemailquestions Re: Primary? Secondary?
Date: Fri, 7 Nov 2003 07:21:54 -0500
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Lisa ended with:
<<So with this and similar experiences I view "psychic" archaeology and
time
travel, as possibilities but know claims are also often fraudulent.  The
study of consciousness is the new frontier so maybe in the future there
will
be a more rigorous examination of what some of us to truly experience
and
some of the scammers will be weeded out and we might learn a bit more
about
the world we live in.  Don't know about the past, but I wouldn't mind
just a
peek every once and awhile.>>

Thanks for explaining, Lisa.  I don't know much about psychology, but
doesn't this all fit in with Jung's theory of the collective
unconscious?  That would explain where you saw all the symbols in your
dream.

I had an X who didn't believe in psychic ability at all.  But he kept
having dreams that came true.  I know they weren't hoaxes because he'd
tell me about the dreams and then years later, I'd watch them happen.

Kass  

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Kate wrote:
<<Actually, Saragrace was quoting me. I did say "ignoring Commonwealth
immigration" - we have all these physical types (except Native American)
here too nowadays, though it's true I don't see many people from ethnic
minorities involved in reenactment.>>

There was just an article in a local magazine here in Easton,
Pennsylvania regarding minorities in reenactment.  It was called
"History in Black and White."  The author attended four Civil War
reenactments in the PA region and decided to write an inflammatory
article on the subject without interviewing any of the reenactors or
expanding her personal experience beyond four events.

Her beef was that there was only one African-American family at the
Battle of Gettysburg reenactment last year.  I wrote a rebuttal asking
how many black families were at the real Battle of Gettysburg -- and how
many Irish, Italian, Jewish, Russian, Asian, German, etc. -- and how
many reenactors were there compared to people at the real event.  

With only a passing glance at our hobby, she was accusing reenactment of
being racist and we were furious!

Kass

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Lee Thompson-Herbert wrote:
> I dunno, I always thought the cookie cutter "casual" look of blue oxford
> shirt, kakhis, and either white leather sneakers or brown topsiders was 
> pretty lame myself.

Where I worked in the 90s (computer company in CA) this might be 
something you wore on formal days, maybe to see a potential client. 
There certainly wasn't any uniformity, though.  Fridays, you could wear 
T-shirts, sweats, almost anything except for shorts (male or female.)

My husband worked at Netscape in its golden years, and just about 
anything was ok.  Now he wears button down shirts, slacks, and dress 
shoes to work.  But he's maintained his luxurious ponytail.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Bad SF crossover ideas:
                        McCoy: It's Thread, Jim!
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Subject: RE: [h-cost] new books for my library
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Bjarne wrote:
<<Just a little for those who dont know these books.>>

Bjarne, could you share the full information on the book "Dynasties"
again?  I know I wrote it down the first time it was mentioned, but I'm
misplaced it.  Thanks.

Kass

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Good point.  The English, with their strong traditions, have held on 
to "Dressing" a lot longer than us wayward Yanks.  ;-D   Same thing 
some places in the south.   And in the Black community, where they 
still dress for church.  I always LOVE to see the after-church crowd 
go out for brunch on Sunday.   They always look FABULOUS!   Without 
them, there would not be a single hat in America that wasn't a 
baseball cap.  ;-/
>>>>
There's a wonderful photo book of Black women wearing their "Sunday
hats" called "Crowning Glory" or something similar.  It's a great book!

Kass

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Subject: [h-cost] what would you suggest?
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 We have a new person who is interested in making a
16th c Spanish outfit. What sources should we suggest
for her?
 
What portraits would be good for her to look at.

=====
Aurum peccamenes multifariam texit

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Subject: [h-cost] Casual Fridays
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> When did 'casual Friday' make its entrance into
> the workplace? Mid 1980's? That would be about when the children born
in
> the 60's to parents who thought suits were 'uncool' would start to
enter
> the workforce.

I worked for Vanity Fair/Lee Jeans (one of the big 3 American jeans
manufacturors) in the 1980's.  We couldn't wear jeans to work until
later in the 80's, and that really started when a new company president
decreed since we were a maker of jeans we should be wearing them so
everyday was to be business casual, altho it took several memos to
really define his idea of business casual :).  I never really got over
seeing our execs in polo shirts and casual pants, and several of them
were heard lamenting how they had to get an almost completely new
wardrobe to be able to go 'casual' every day of the week.  That pres
only lasted a year but, fortunately, some of the casual attitude
remained and we ended up with casual fridays.

Catherine
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] what would you suggest?
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I recommend Hispanic Costume 1480-1520 by Ruth Anderson.  Best book out
there on Spanish dress in the early 16th century, in English. Also,
Alcega's Tailor's Pattern Book: his patterns are all Spanish.

Drea

On Fri, 7 Nov 2003, [iso-8859-1] Catalina Sanabria Rosado wrote:

>  We have a new person who is interested in making a
> 16th c Spanish outfit. What sources should we suggest
> for her?
>
> What portraits would be good for her to look at.
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
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From: "Kass McGann" <historian@reconstructinghistory.com>
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Subject: RE: [h-cost] Casual Fridays
Date: Fri, 7 Nov 2003 09:57:32 -0500
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> When did 'casual Friday' make its entrance into
> the workplace? Mid 1980's? That would be about when the children born
in
> the 60's to parents who thought suits were 'uncool' would start to
enter
> the workforce.

I entered the workforce in 1989.  Right out of college and into a NYC
brokerage firm.  Everyone I worked with wore suits to work every day.
Even though these were the same sweaty guys who spent their days
screaming on two different phones at the same time, they didn't so much
as loosen their ties.  The only concession they made was to take off
their jackets when they sat down.  But as soon as they walked away from
the board, they put them back on.

In the intervening years, I worked for a couple of dot.coms.  I have to
admit that although I liked the idea of not having to dress up every
day, it made me "sloppy" in my work habits as well as my attire.  And I
will never think wearing sneakers or flip-flops to work is acceptable
under any circumstances.

I work from home now where I can sit cross-legged at my computer in my
pajamas all day -- and I HATE it.  I relish the thought of having to do
my hair, put on some makeup, and dress for the world.

When casual dress became acceptable everywhere, even in establishments
of "fine dining", I think we lost something very special.  It wasn't
about class differences (my coal-mining grandfathers wore "suits" every
day to the mines!).  It was about respect.  When I wear a suit to a
business meeting, it says to my client "I think you're important enough
to dress up for."  It shows I respect them.  It also establishes a bit
of formal distance.  They are my clients; not my bosom buddies.  That is
an important distinction.  You shouldn't operate casually in business
situations.

Like most people on this list, I'm sure, I believe that clothing
communicates a very strong message that no verbal communication can
override.  I'm hoping for an "anti-casual backlash" (like the anti-SUV
backlash proposed by the new Mini Cooper).  =)

Kass

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] what would you suggest?
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Also have her check out the book on Sofonisba Anguissola, by Ilya Sandra Perlingieri;
Sofonisba was a remarkable woman from Italy who became court painter to Phillip II of Spain's 3rd wife, Isabel of Valois. Also look at the works of Alonso Sanchez Coello, another painter of the period.
Albra

Catalina Sanabria Rosado <ladyforbeys@yahoo.com> wrote:
We have a new person who is interested in making a
16th c Spanish outfit. What sources should we suggest
for her?

What portraits would be good for her to look at.

=====
Aurum peccamenes multifariam texit

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Yes, it's very much within Jung collective unconscious theory.  I do believe
all the thoughts of 16th century tailors are out there somewhere just near
impossible to get to.  But I also agree that knowing everything about the
past would spoil the fun of trying to figure out the puzzle.  It's nice that
life is full of mysteries and that's the way it should be!

Lisa Sinervo


----- Original Message -----
From: "Kass McGann" <historian@reconstructinghistory.com>
To: "'Historical Costume'" <h-costume@indra.com>
Sent: Friday, November 07, 2003 4:21 AM
Subject: RE: [h-cost] Psychic Archaeology - OT - Are u responsible for
thevoices in myhead? wasemailquestions Re: Primary? Secondary?


> Lisa ended with:
> <<So with this and similar experiences I view "psychic" archaeology and
> time
> travel, as possibilities but know claims are also often fraudulent.  The
> study of consciousness is the new frontier so maybe in the future there
> will
> be a more rigorous examination of what some of us to truly experience
> and
> some of the scammers will be weeded out and we might learn a bit more
> about
> the world we live in.  Don't know about the past, but I wouldn't mind
> just a
> peek every once and awhile.>>
>
> Thanks for explaining, Lisa.  I don't know much about psychology, but
> doesn't this all fit in with Jung's theory of the collective
> unconscious?  That would explain where you saw all the symbols in your
> dream.
>
> I had an X who didn't believe in psychic ability at all.  But he kept
> having dreams that came true.  I know they weren't hoaxes because he'd
> tell me about the dreams and then years later, I'd watch them happen.
>
> Kass
>
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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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<Snip>

> There was just an article in a local magazine here in Easton,
> Pennsylvania regarding minorities in reenactment.  It was called
> "History in Black and White."  The author attended four Civil War
> reenactments in the PA region and decided to write an inflammatory
> article on the subject without interviewing any of the reenactors or
> expanding her personal experience beyond four events.

> Kass

I witnessed something similar a few years ago at an SCA event, the local
group was having a big Anniversary event, and someone had notified all the
hometown press. We survived the press, steering the photographer away from
the folks in sunglasses and cell phones, but the one girl who showed up from
the university paper was another thing again. She had apparently decided
before she had even seen what we do that the whole organization was sexist
and designed to keep women trapped in a male dominated blah blah blah.

Fortunately at that time we had almost as many women involved in combat as
men, and our designated PR person introduced her to each and every one of
us. We were enjoying the look of confusion on her face, here we were, poor
hapless helpless dominated females, no wait she is a Bio Geneticist for a
living? What about the one in the corsets, out moded fashion designed by
male... oh, thats the Civic Engineer. Aha! That poor girl over there sitting
and waiting on her husband... oh she usually fights but she's sick today.
Never mind.

The girl ended up spending the entire day with us, we dressed her up, fed
her feast and she got roaring drunk after the event at our post revel. She
never did write her article.

Sheridan



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	<p05210619bbd08b03d75c@[192.168.1.100]> <3FAAE36B.1040307@reddawn.net>
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Looking around in Google, it seems that the start of casual Friday was 
more mid 90's and perhaps tied to the start of the dot coms. I stopped 
work in 1990 to raise a family and I remember talk after that about 
casual Friday. In 1990, I think women were just moving from the 
male-style suits into more feminine tailoring. However, I was an 
engineer, and a symbol of the engineers was jeans to distinguish us from 
the suits. The times we dressed in suits was for presentations.  For 
once it seems that engineers and techies were fashion leaders.

Ann

Dawn wrote:

> Rima wrote:
>
>  > I'm thinking it was in the late '60's that it became uncool to "dress
>
>> up".   Up until then, women still wore nice dresses and guy still 
>> wore suits, and people still dressed for the theatre or for dinner.
>
>
> I wouldn't be surprised if the bicentennial in 1976 got a lot of 
> people reading "All men are created equal..." and looking at casual 
> dress as one of those equalizers. When did 'casual Friday' make its 
> entrance into the workplace? Mid 1980's? That would be about when the 
> children born in the 60's to parents who thought suits were 'uncool' 
> would start to enter the workforce.
>
> Interesting topic for thought.
>
>
>
> Dawn
>
>
>
>
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>

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Subject: Re: [h-cost] what would you suggest?
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In addition to sources already suggested you can find an extensive  
bibliography on my website.
Warning:  There are 2 books (Alcega and Anderson) and 1 article IN  
ENGLISH on Spanish costume. You can, however, find material in general  
costuming books for the late 16th century, probably because it is so  
closely related to "Elizabethan" costume.

Grace/Jessamyn
jessamynscloset.com

On Friday, November 7, 2003, at 06:16 AM, Catalina Sanabria Rosado  
wrote:

>  We have a new person who is interested in making a
> 16th c Spanish outfit. What sources should we suggest
> for her?
>
> What portraits would be good for her to look at.
>
> =====
> Aurum peccamenes multifariam texit
>
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If she has Elizabeth R on CD or tape, how about that white spanish dress the
queen is wearing in some of the first eppisodes?
I have always admired that dress, it is absolutely beautifull!

Bjarne


----- Original Message -----
From: "Catalina Sanabria Rosado" <ladyforbeys@yahoo.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 07, 2003 3:16 PM
Subject: [h-cost] what would you suggest?


> We have a new person who is interested in making a
> 16th c Spanish outfit. What sources should we suggest
> for her?
>
> What portraits would be good for her to look at.
>
> =====
> Aurum peccamenes multifariam texit
>
> ________________________________________________________________________
> Want to chat instantly with your online friends?  Get the FREE Yahoo!
> Messenger http://mail.messenger.yahoo.co.uk
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>From: "Lisa Sinervo"...
>...rhook.homepage or something similar, it had his name on it......and his 
>web
>page had a link to Marc Carlson's web site which contained instructions as
>to how to make shoes.  I made them in my bedroom which had dressers but no
>chairs.  I left the piece of paper with the website address on my dresser.
>I believe somewhere on Mark's web page, there is a line that says, don't
>just photocopy and enlarge these patterns and expect them to fit.  I also
>made a plaster of paris last out of an old shoe, but first I had to use
>masking tape to cover the holes.

Just a reminder that I need to overhaul the stupid site completely :)  (the 
plaster last/shoe thing has a lot of problems as a technique).

You know, I just get complants from people that I don't just have patterns 
there they can just print off in whatever their size is.   Which, strangely 
enough reminds me of a lot of psychic archaeology - people wanting it all 
handed to them easily and predigested so that they can have what they want 
the answer to be with no effort on their part..

Sorry, I'm just feeling a little cranky today ...

Marc

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Date: Fri, 07 Nov 2003 09:21:59 -0800
Subject: Re: [h-cost] are you responsible for
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Good points. In 1980-82 I worked for a small architectural company in San
Francisco. The two senior architects, a man and a woman, always wore suits;
the jackets came off as soon as they walked into the office. The others, two
other architects (one of them a partner) and two newly-graduated architects
who did lots of the final drawings and models wore the other uniform, khaki
Levi's, topsiders, light colored button-down shirt. When clients or
contractors came to the office the jackets went on, even for the people who
might not be seen - they had sports coats in their offices for drop-ins. (I
being the whole front office always had to dress very professionally; I was
the first person they'd see as they walked in the door and was to give a
good first impression.) Oh, yes, clothing says a great deal about who we are
and what we think of 'you'.

LynnD
Where it has been raining nights and the days are sunny and crisp and clean.

On 11/7/03 7:43 AM, "A Fairburn" <afairburn@kc.rr.com> wrote:

> Looking around in Google, it seems that the start of casual Friday was
> more mid 90's and perhaps tied to the start of the dot coms. I stopped
> work in 1990 to raise a family and I remember talk after that about
> casual Friday. In 1990, I think women were just moving from the
> male-style suits into more feminine tailoring. However, I was an
> engineer, and a symbol of the engineers was jeans to distinguish us from
> the suits. The times we dressed in suits was for presentations.  For
> once it seems that engineers and techies were fashion leaders.
> 
> Ann
> 
> Dawn wrote:
> 
>> Rima wrote:
>> 
>>> I'm thinking it was in the late '60's that it became uncool to "dress
>> 
>>> up".   Up until then, women still wore nice dresses and guy still
>>> wore suits, and people still dressed for the theatre or for dinner.
>> 
>> 
>> I wouldn't be surprised if the bicentennial in 1976 got a lot of
>> people reading "All men are created equal..." and looking at casual
>> dress as one of those equalizers. When did 'casual Friday' make its
>> entrance into the workplace? Mid 1980's? That would be about when the
>> children born in the 60's to parents who thought suits were 'uncool'
>> would start to enter the workforce.
>> 
>> Interesting topic for thought.
>> 
>> 
>> 
>> Dawn
>> 
>> 
>

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Date: Fri, 07 Nov 2003 13:32:26 -0500
Subject: Re: [h-cost] what would you suggest?
From: Marsha J Hamilton <mjh@pearlandplume.com>
To: Historical Costume <h-costume@indra.com>
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on 11/7/03 9:16 AM, Catalina Sanabria Rosado at ladyforbeys@yahoo.com wrote:
> We have a new person who is interested in making a
> 16th c Spanish outfit. What sources should we suggest
> for her?
------------

I highly recommend "Alonso Sanchez Coello: y el retrato en la corte de
Felipe II.  Museo del Prado, Ministerio de Cultura, 1990.
ISBN-84-87317-030.

It's an exhibition catalog.  I got it from Worldwide Books in the U.S. years
ago.  You might be able to get a copy on inter-library loan.

Even though the text is in Spanish, the 253 page, over-sized paperback has
hundreds of superb color and b&w illustrations.  Many take up a full page
so you can see a fair amount of detail.

Most are portraits by a court painter of Philip II of Spain, but it also
includes patterns from Alcega, maps, a photo of a chapin, genealogies, info.
on the restoration of certain paintings, etc.   Definitely drool inducing.

You can also do a Google search on "Alonso Sanchez Coello" and get tons of
links to reproductions online, museum holdings showing images, etc.
Coello's dates are 1533-1588 I think.

Marsha 

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Subject: [h-cost] question for Martha re:corset patterns
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Martha,

I have most of your Simplicity patterns for the mid 19th century, but 
I'm confused on the underwear and corset patterns. Some are labelled for 
"Civil War", but some are not, and as I have not studied the period 
extensively they all start to look alike to me.

Would it be possible to get approximate dates for the following patterns?

5726
7215
7216
9769

Thanks for your time,



Dawn



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From h-costume-bounces@indra.com  Fri Nov  7 15:11:29 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] 18th century ladys purse
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Hi,
I have ben inspired to make a ladys purse for a christmas gift. It will be
made of 4 pieces joined together, embroidered and embellished with bobbin
gold lace. And then lace holes on the top and a cord to close it with.
I was thinking about making it in ivory duchesse satin and should i then
line it with taffeta?
Could i use some cardboard inside to stiffen the 2 major pieces?
Any advises, greatly received :-)

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Subject: [h-cost] where'd it go???
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I was trying to get to www.elizabethanlady.com to look up info on the corded
corset and nothing is coming up - where'd it go????

**********************
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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To: h-costume@indra.com (Historical Costume)
Subject: Re: [h-cost] question for Martha re:corset patterns
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In a message dated 11/7/2003 2:18:26 PM Eastern Standard Time, dawn@reddawn.net writes:

> Martha,
> 
> I have most of your Simplicity patterns for the mid 19th century, but 
> I'm confused on the underwear and corset patterns. Some are labelled for 
> "Civil War", but some are not, and as I have not studied the period 
> extensively they all start to look alike to me.
> 
> Would it be possible to get approximate dates for the 
> following patterns?
> 
> 5726
> 7215
> 7216
> 9769
> 
> Thanks for your time,
> 
> 
> 
> Dawn

Or could you at least tell us which underwear patterns go with which dresses?  There seems to be different sets for different dresses, but I am not sure which are which.

Kit
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, 07 Nov 2003 12:21:13 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] 18th century ladys purse
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>I have ben inspired to make a ladys purse for a christmas gift. It will be
>made of 4 pieces joined together, embroidered and embellished with bobbin
>gold lace. And then lace holes on the top and a cord to close it with.
>I was thinking about making it in ivory duchesse satin and should i then
>line it with taffeta?
>Could i use some cardboard inside to stiffen the 2 major pieces?
>Any advises, greatly received :-)

Yes you can use cardboard, if nobody will ever wash the purse.


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

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Subject: Re: [h-cost] where'd it go???
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> I was trying to get to www.elizabethanlady.com to look up info on the 

Bizarre. All I get is "Report Abuse to noc@domaindns.net" - eek.

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Rebecca wrote:
> I was trying to get to www.elizabethanlady.com to look up info on the corded
> corset and nothing is coming up - where'd it go????

http://modehistorique.com I think.

K.
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From: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
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Subject: Re: [h-cost] where'd it go???
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Elizabethanlady.com is no more.  Unfortunately, I was in the midst of 
transfering all the pages to my new URL http://www.modehistorique.com 
when the server began throwing a tantrum. I've gotten it sorted out 
but haven't had time in the last few weeks to resume putting all the 
files in their proper spots, so I've taken the website down 
temporarily.

If you're looking for info on corded corsets, I believe Jen Thompson's 
page on boning with hemp cord is what you want: 
http://homepage.mac.com/festive_attyre/research/cording/cord.html

Sorry for the inconvienence guys!  

Sarah
http://www.modehistorique.com .... Coming soon!

> Rebecca wrote:
> > I was trying to get to www.elizabethanlady.com to look up info on 
the corded
> > corset and nothing is coming up - where'd it go????
> 
> http://modehistorique.com I think.
> 
> K.
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> 

-- 

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http://www.kipar.org/index.html


I stumbled on this site this afternoon. They're in the UK, 
unfortunately, but the site is full of delicious pages on costume and 
other artifacts from the period.



Dawn


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From h-costume-bounces@indra.com  Fri Nov  7 16:51:49 2003
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Dawn wrote:
> http://www.kipar.org/index.html
>
> I stumbled on this site this afternoon. They're in the UK, 
> unfortunately, but the site is full of delicious pages on costume and 
> other artifacts from the period.

Yes, Nicole Kipar is on this list isn't she?  I've admired her site for
a long time - beautiful pictures!

K.
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Whew - I thought it had disappeared! Actually, I think it was on your page,
where you used some sort of wired rope for a corded petticoat? I was at Home
Depot today and couldn't find anything like that in the rope section, so I
wanted to double check my very faulty memory against what I had
read....oh....2-3 months ago ;-P

I'll look forward to seeing your new site up and running.

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



----- Original Message -----
From: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 07, 2003 3:12 PM
Subject: Re: [h-cost] where'd it go???


> Elizabethanlady.com is no more.  Unfortunately, I was in the midst of
> transfering all the pages to my new URL http://www.modehistorique.com
> when the server began throwing a tantrum. I've gotten it sorted out
> but haven't had time in the last few weeks to resume putting all the
> files in their proper spots, so I've taken the website down
> temporarily.
>
> If you're looking for info on corded corsets, I believe Jen Thompson's
> page on boning with hemp cord is what you want:
> http://homepage.mac.com/festive_attyre/research/cording/cord.html
>
> Sorry for the inconvienence guys!
>
> Sarah
> http://www.modehistorique.com .... Coming soon!
>
> > Rebecca wrote:
> > > I was trying to get to www.elizabethanlady.com to look up info on
> the corded
> > > corset and nothing is coming up - where'd it go????
> >
> > http://modehistorique.com I think.
> >
> > K.
> > _______________________________________________
> > 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  Fri Nov  7 18:46:47 2003
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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Psychic Archaeology -  OT - Are u responsible for
	thevoices in myhead? wasemailquestions Re: Primary? Secondary?
Date: Sat, 8 Nov 2003 10:47:45 +1100
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I reserve the right to:

Eat as much meat as I want;
Take a tablet when I have a headache;
Ignore political correctness until the correctnessers are blue in the face;
Cut up bits of cow for my costumes;
Use fur wherever I want;
Laugh at Freud;
Use Jung's (and Joe Campbell's) work as the tools they were intended to be;
Drink booze, watch cricket and ignore the New Age; and
Do the hard work when it comes to research,

-C.
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From: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] where'd it go???
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Oh, that was polyeurethane tubing (I know I butchered the spelling on 
that...), 3/4" diameter, I think.  It was a while ago, so I can't 
remember exactly what I used.  It should be in the plumbing section of 
Home Depot, if I remember correctly.  :)

Sarah

> Whew - I thought it had disappeared! Actually, I think it was on 
your page,
> where you used some sort of wired rope for a corded petticoat? I was 
at Home
> Depot today and couldn't find anything like that in the rope 
section, so I
> wanted to double check my very faulty memory against what I had
> read....oh....2-3 months ago ;-P
> 
> I'll look forward to seeing your new site up and running.
> 
> **********************
> 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
> **********************
> 
> 
> 
> ----- Original Message -----
> From: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, November 07, 2003 3:12 PM
> Subject: Re: [h-cost] where'd it go???
> 
> 
> > Elizabethanlady.com is no more.  Unfortunately, I was in the midst 
of
> > transfering all the pages to my new URL 
http://www.modehistorique.com
> > when the server began throwing a tantrum. I've gotten it sorted out
> > but haven't had time in the last few weeks to resume putting all 
the
> > files in their proper spots, so I've taken the website down
> > temporarily.
> >
> > If you're looking for info on corded corsets, I believe Jen 
Thompson's
> > page on boning with hemp cord is what you want:
> > http://homepage.mac.com/festive_attyre/research/cording/cord.html
> >
> > Sorry for the inconvienence guys!
> >
> > Sarah
> > http://www.modehistorique.com .... Coming soon!
> >
> > > Rebecca wrote:
> > > > I was trying to get to www.elizabethanlady.com to look up info 
on
> > the corded
> > > > corset and nothing is coming up - where'd it go????
> > >
> > > http://modehistorique.com I think.
> > >
> > > K.
> > > _______________________________________________
> > > 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: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] 
	Time travel as research tool of the future... (was RE: Psychic
	Archeology)
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This has nothing to do with "Psychic Archeology" (I'm really biting my 
tongue on that one), but there is the field of quantum physics that 
allows for the possibility of multiple universes and time travel.  
It's entirely too complex for me to even begin to fathom, but the 
September 2001 issue of Discover ran a great article on it 
(http://www.discover.com/issues/sep-01/cover/).  Most recently, it's 
been the subject of a new NOVA series on PBS, but since I no longer 
have a TV, I haven't yet seen any episodes dealing with it.  

Anyhoo... I would have to agree with Kass on this.  I think time 
travel would kill the fun in costuming for me.  Sure, it would be 
interesting to answer all those pressing questions we debate about 
constantly, but to me, time travel would feel like cheating.  

Sarah
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From h-costume-bounces@indra.com  Fri Nov  7 19:15:21 2003
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Date: Fri, 07 Nov 2003 16:14:38 -0800
Subject: Re: [h-cost]  Time travel as research tool of the future...
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I agree with Sarah about not wanting to go back in time to have those
mystical questions answered, but I'd still really like for someone who knows
to write that book a friend and I have talked about for years, "Hey, Lady,
Turn Around" so we can finally see how the backs of those clothes and hats
look and fit.

LynnD

On 11/7/03 4:02 PM, "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
wrote:

> This has nothing to do with "Psychic Archeology" (I'm really biting my
> tongue on that one), but there is the field of quantum physics that
> allows for the possibility of multiple universes and time travel.
> It's entirely too complex for me to even begin to fathom, but the
> September 2001 issue of Discover ran a great article on it
> (http://www.discover.com/issues/sep-01/cover/).  Most recently, it's
> been the subject of a new NOVA series on PBS, but since I no longer
> have a TV, I haven't yet seen any episodes dealing with it.
> 
> Anyhoo... I would have to agree with Kass on this.  I think time
> travel would kill the fun in costuming for me.  Sure, it would be
> interesting to answer all those pressing questions we debate about
> constantly, but to me, time travel would feel like cheating.
> 
> Sarah
> _______________________________________________
> 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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References: <Law9-F24FB3d0oMCeV90000f463@hotmail.com>
Subject: making shoe patterns was Re: [h-cost] Re: Psychic Archaeology -  OT -
	Are u
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Marc Carlson wrote:

>
> Just a reminder that I need to overhaul the stupid site completely :)
(the
> plaster last/shoe thing has a lot of problems as a technique).
>
> You know, I just get complants from people that I don't just have patterns
> there they can just print off in whatever their size is.   Which,
strangely
> enough reminds me of a lot of psychic archaeology - people wanting it all
> handed to them easily and predigested so that they can have what they want
> the answer to be with no effort on their part..
>
> Sorry, I'm just feeling a little cranky today ...

It's fine I completely understand.  The thing always in the back of my mind
about psychic archaeology or anything psychic , despite a number of  my own
positive experiences is, even if it worked perfectly, one is still tapping
into a collective consciousness, which must mean that even the thoughts of
complete idiots must be swirling around up for grabs, which I think would be
a complete worry.  I have my fingers crossed that there must be some sort of
filtering system, but at times I'm not so sure.

I ended up tossing my plaster of Paris last out, it didn't work at all.  The
technique I have found to be most successful with developing a patterns for
medieval shoes is this.  I take a piece of heavy cardboard and trace the
image of the foot I wish to make shoes for on it.  Then I take the cardboard
and draw a sole on it with the proper period silhouette to accommodate the
foot outline and then I cut it out.  Next I put a square of cork board on
the floor, put the cut out cardboard sole on the corkboard and have the
person stand on the cardboard sole.  Then I take a pieces of felt cut out
like very generalized oversized pattern pieces from the diagrams you
provided and then I drape them over the foot pinning the felt to the
corkboard just where the cardboard sole is in such a way that I would like
the leather to drape over a persons foot if it were a shoe.  I've even added
cotton balls at the toe during the draping process..  Then I take a felt pen
and draw lines on the felt where I think the leather should end  to make the
shoe the style I want.  Then I ask the person to remove their foot and I
draw a line around the felt where the cardboard sole edges are.

Next I cut the felt and sew it into a shoe, have the person try it on again
and then I make further adjustments if necessary.  Then I take it apart and
have my pattern for a shoe and make it up in leather.  I've only tried this
for turn shoes, but it works very well.  Thanks also for the time you spend
on your site.  I've found it most useful.

Lisa Sinervo
www.thrednedlestrete.com



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] are you responsible for
Date: Fri, 7 Nov 2003 21:37:14 -0500
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On Friday 07 November 2003 05:58 am, Lee Thompson-Herbert wrote:
> Catherine Olanich Raymond <cathy@thyrsus.com> wrote:
> > [snip]

> > I  was in the workplace by mid-1985, and there was no such thing as
> > casual Friday in the law firm culture then.
>
> You can thank the computer industry for 'casual Friday,' I think.  I
> remember that by 1986-87, the "Friday Beer Bash" was already becoming
> common.  I first saw that at Apple Computer, but other companies started
> following suit.

You could well be right.  That was why I specified "law firm culture."  It 
took a while for the idea to percolate from the computer firms to the 
business firms, to us....


>
> [...]
>
> > At the beginning of the dot.boom, a huge Philadelphia firm called Morgan,
> > Lewis & Bockius adopted a "casual day most of the time" policy, and
> > literally within days, most of the law firms in Philadelphia, including
> > mine, had followed suit.
>
> Then again, at Apple, it was de rigeur to wear your project tshirt.  Every
> project group had their own shirts made up, usually with the "top secret"
> code name for their latest piece of hardware or software.  That was late
> 80s. Even Apple's gone through a couple culture changes since then.

Sometimes law firms do this--people will make a t-shirt for a special case 
(particularly if it's a big one that goes on for years and involves a lot of 
the firm's people).  Though this isn't always a good idea.  The story is told 
of a big NYC firm that was accused by a major client of flagrant overbilling.  
Their attempts to justify themselves were undercut by the client's producing 
snapshots of some of the firm's legal assistants wearing t-shirts that read:  
"Born to Bill."  


>
> > Some of those firms switched back to business dress after the bust, but
> > we've kept the business casual policy.
>
> Computer companies that have survived the dotbomb have gotten much less
> lenient about dress codes.  Though Intel (where I heard the most
> complaints) has always been on the conservative side of the industry.

Probably true.

I wonder what IBM's up to in that regard.  They've changed a lot over time 
when it comes to this aspect of corporate culture.  When I was in law school, 
even the programmers there were required to wear jacket and tie--all the 
time.  When my husband went to speak to an IBM group in 1998, he wore a polo 
shirt and a nice pair of black jeans, and was, in his words, "the 
best-dressed person there...."



> I dunno, I always thought the cookie cutter "casual" look of blue oxford
> shirt, kakhis, and either white leather sneakers or brown topsiders was
> pretty lame myself.  It still suffered from the problem of many people not
> having any creativity in dress. 

Though when you're getting up between 6 and 7 a.m. to make it to work by 9, 
and staying at work until 6 or 7 p.m., originality in costume is *not* one of 
your higher priorities (I ought to know).... :-)



 >So when they ditched the suits, they just
> picked another uniform.  Even when I wore a suit (I'm female, wearing a
> 3-piece suit was unusual), I tried to make it look interesting.  Silk vests
> and ties, dress shoes and boots that weren't the two or three styles that
> everyone else wore, shirts that had embroidered details.  It wasn't really
> all that hard to find any of those things, I just had to actually *think*
> about how the outfits would look.

I made a point of buying clothes out of which I could get as many different 
looks as possible.  I now wear suit jackets with nice sweaters and chinos, in 
various combinations.  But anyway, I get your point.  :-)



> But now I'm disabled, and I no longer even present papers at technical
> conferences, so I have no reason to wear a suit.  My husband stole my
> spiffy ties a couple years ago, so at least those are still being worn.
> I'm now practicing to be a batty auntie, like in "Practical Magic." ;}

More power to you.  :-)



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Status: RO

I know the gal with the vertandsable website (cf Renaissance Tailor
group).  She's a completely amazing person and artisan (in other words,
I wanna be her when I grow up!).  I'd imagine that the list would be a
good mix of the practical and the theoretical and the historical (if
that makes any sense!)
--sue

Dawn wrote:
> <snip>
> 75       TheRenaissanceTailor
> Welcome to the Renaissance Tailor egroup... This is a discussion group
> for people interested in 16th and 17th century tailoring, embellishment
> and accessories. Focus is on techniques from Europe (mainly France,
> England and Italy) but we also explore tailoring in Eastern Europe,
> Central Asia and Northern Africa. This is the companion egroup for the
> website http //www.vertetsable.com Because of the increase in spam,
> memberships are now approved by the list admin prior to activation. In
> most cases, ... more
> 
> (259 members, this might be a go)
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Subject: Re:making shoe patterns was Re: [h-cost] Re: Psychic Archaeology -
	OT -	Are u
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>From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
>It's fine I completely understand.  The thing always in the back of my mind
>about psychic archaeology or anything psychic , despite a number of  my own
>positive experiences is, even if it worked perfectly, one is still tapping
>into a collective consciousness, which must mean that even the thoughts of
>complete idiots must be swirling around up for grabs, which I think would 
>be
>a complete worry.  I have my fingers crossed that there must be some sort 
>of
>filtering system, but at times I'm not so sure.

Coming from a family with a history of Psychic occurances, and having had a 
number that I couldn't explain - I'm one of the most skeptical people I know 
about such things.  This is probably because I have had experience with how 
easy it is to fool myself and others.

>...Next I cut the felt and sew it into a shoe, have the person try it on 
>again
>and then I make further adjustments if necessary.  Then I take it apart and
>have my pattern for a shoe and make it up in leather.  I've only tried this
>for turn shoes, but it works very well.

It's a little more complicated than the general method I currently use, when 
I don't have a last - but essentially the same.  OTOH, the lady who taught 
the class after mine at KWCS this year had a patterning technique that I 
haven't finished testing into the ground, but was beautifully simple.

>...Thanks also for the time you spend on your site.  I've found it most 
>useful.

I'm just glad that people have uses for these things.

Marc

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Casual Fridays
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On Friday 07 November 2003 09:57 am, Kass McGann wrote:
[snip]

> ... When I wear a suit to a
> business meeting, it says to my client "I think you're important enough
> to dress up for."  It shows I respect them.  It also establishes a bit
> of formal distance.  They are my clients; not my bosom buddies.  That is
> an important distinction.  You shouldn't operate casually in business
> situations.

That may depend upon the nature of your relationship with your clients.

One of the reasons my law firm has retained the "business casual" dress code 
is that many of our best clients prefer it.  Specifically, they prefer being 
able to attend meetings wearing chinos and polo shirts themselves and know 
that they will not look out of place.

Even so, management reserves the right to tell us to wear suits in honor of 
special visitors, and of course we wear suits for court appearances and 
meetings outside the office.  Because you are right, clothing does convey a 
message, and sometimes the combination of formality and competence conveyed 
by a suit is the right and necessary message.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Marc Carlson wrote:

> Coming from a family with a history of Psychic occurances, and having had
a
> number that I couldn't explain - I'm one of the most skeptical people I
know
> about such things.  This is probably because I have had experience with
how
> easy it is to fool myself and others.
>
Perhaps String Theory, as discussed on NOVA, as mentioned by Sarah,  might
prove to be an explaination for these occurances.  Then we'll only have to
sort out fraud, from misinterpretation, from genuine
events................Yikes!!  I think for costuming research, I'll be
sticking to linear and documentable sources......

Lisa Sinervo


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From h-costume-bounces@indra.com  Sat Nov  8 01:23:03 2003
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From: "Sheridan & Shane" <shooie@sprint.ca>
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Subject: [h-cost] Shoes
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Hi!

A question for Marc specifically, but for anyone else who has done this your
input is greatly appreciated. :-)

You mentioned in another post that the plaster last made from an old shoe
was problematic, what specifically was/is the problem? My husband was
actually just about to use his last pair of sneakers to make a couple of
lasts per your article, any pointers or tips before we proceed to make a
plastery mess of my kitchen? :-) I do actually own a couple of wooden lasts
(an inheritance) but they are in storage somewhere on the other end of the
country.

Any help or input is greatly appreciated.

Sheridan

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

Experience is a wonderful thing. It enables you to
recognize a  mistake when you make it again.



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Subject: Re: making shoe patterns was Re: [h-cost] Re: Psychic Archaeology -OT
	-	 Are u
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Oh, absolutely!
For drooling purposes, if nothing else!
I've been spending a lot of time lately, cruising the tunic/hood
pages--it's really nice to have the different examples and categories. 
And a couple of those Spanish garments have a future with me--a friend
of mine and I want to "recreate" a picture from Islamic Spain that shows
a Muslim woman and a Christian woman.
--sue

Marc Carlson wrote:
> 
> >From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>

> >...Thanks also for the time you spend on your site.  I've found it most
> >useful.
> 
> I'm just glad that people have uses for these things.
> 
> Marc
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From h-costume-bounces@indra.com  Sat Nov  8 10:26:35 2003
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go down to the 07/13/03 entry.
i went looking for "wire rope" too. i  found a lot of different types 
of wire and rope, no wire rope. i've been meaning to drop her a line, 
but i'm a slacker:) if you find it (the wire rope) please post!
laurie

http://homepage.mac.com/festive_attyre/research/diary2002/page3.html
On Friday, November 7, 2003, at 09:04 PM, h-costume-request@indra.com 
wrote:

>
> Message: 11
> Date: Fri, 7 Nov 2003 16:25:19 -0600
> From: <lotsofteapots@charter.net>
> Subject: Re: [h-cost] where'd it go???
> To: "Historical Costume" <h-costume@indra.com>
> Message-ID: <008f01c3a57e$0750bd20$4392c418@mad.chartermi.net>
> Content-Type: text/plain;	charset="iso-8859-1"
>
> Whew - I thought it had disappeared! Actually, I think it was on your 
> page,
> where you used some sort of wired rope for a corded petticoat? I was 
> at Home
> Depot today and couldn't find anything like that in the rope section, 
> so I
> wanted to double check my very faulty memory against what I had
> read....oh....2-3 months ago ;-P
>
> I'll look forward to seeing your new site up and running.
>
> **********************
> Rebecca Schmitt
> aka Agnes Cabot, wife of Master Peter Cabot
> BRF FOF; Guilde of St. Lawrence

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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] Shoes
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Hi Sheridan,

Obviously I'm not Marc and have only tried the plaster of paris method once,
but this is my experience.

I used a pair of old soft loafers for my lasts.  Because they were old,
stretched and soft, I put them on and wrapped a small roll of masking tape
tightly around them to give them support and reduce the size.  I understand
now why foot binding has been banned!  Although my last mold was quite solid
after this tape wrapping application, the plaster of paris still put quite a
bit of pressure on them and they became low and squished out at the sides,
even supporting the shoes during the drying process didn't return them to a
respectable foot shape.  I ended up tossing them out without using them at
all.

The draping method works quite well.

Lisa Sinervo
www.thrednedlestrete.com




----- Original Message -----
From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 07, 2003 10:21 PM
Subject: [h-cost] Shoes


> Hi!
>
> A question for Marc specifically, but for anyone else who has done this
your
> input is greatly appreciated. :-)
>
> You mentioned in another post that the plaster last made from an old shoe
> was problematic, what specifically was/is the problem? My husband was
> actually just about to use his last pair of sneakers to make a couple of
> lasts per your article, any pointers or tips before we proceed to make a
> plastery mess of my kitchen? :-) I do actually own a couple of wooden
lasts
> (an inheritance) but they are in storage somewhere on the other end of the
> country.
>
> Any help or input is greatly appreciated.
>
> 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
> http://mail.indra.com/mailman/listinfo/h-costume
>
>


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Ah, I see... Jen mentioned "wire rope".  I got confused and thought 
that you were refering to something on the Elizabethan Lady website, 
which I'm 99.9% sure never mentioned wire rope.

I'm not sure if this what Jen used, but I have seen braided wire cable 
at Home Depot that looks sturdy enough to work in a farthingale.  You'd 
most likely find it in the electrical section, and I believe it comes 
on those large spools, so you'd have to get it cut by an employee.

Sarah


On Saturday, November 8, 2003, at 07:24  AM, randl@adelphia.net wrote:

> go down to the 07/13/03 entry.
> i went looking for "wire rope" too. i  found a lot of different types 
> of wire and rope, no wire rope. i've been meaning to drop her a line, 
> but i'm a slacker:) if you find it (the wire rope) please post!
> laurie
>
> http://homepage.mac.com/festive_attyre/research/diary2002/page3.html
> On Friday, November 7, 2003, at 09:04 PM, h-costume-request@indra.com 
> wrote:
>
>>
>> Message: 11
>> Date: Fri, 7 Nov 2003 16:25:19 -0600
>> From: <lotsofteapots@charter.net>
>> Subject: Re: [h-cost] where'd it go???
>> To: "Historical Costume" <h-costume@indra.com>
>> Message-ID: <008f01c3a57e$0750bd20$4392c418@mad.chartermi.net>
>> Content-Type: text/plain;	charset="iso-8859-1"
>>
>> Whew - I thought it had disappeared! Actually, I think it was on your 
>> page,
>> where you used some sort of wired rope for a corded petticoat? I was 
>> at Home
>> Depot today and couldn't find anything like that in the rope section, 
>> so I
>> wanted to double check my very faulty memory against what I had
>> read....oh....2-3 months ago ;-P
>>
>> I'll look forward to seeing your new site up and running.
>>
>> **********************
>> Rebecca Schmitt
>> aka Agnes Cabot, wife of Master Peter Cabot
>> BRF FOF; Guilde of St. Lawrence
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
>
_________________________________________________
http://www.elizabethanlady.com

"Those who are willing to sacrifice their basic liberties to assure 
their security deserve neither..."

Benjamin Franklin


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From: "Melanie Wilson" <MelanieWilson@dragonflight.co.uk>
To: "Historical Costume" <h-costume@indra.com>
References: <003f01c3a5c0$84d102e0$cb6afea9@shooie>
Subject: Re: [h-cost] Shoes
Date: Sat, 8 Nov 2003 17:38:57 -0000
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>post that the plaster last made from an old shoe
was problematic

I made one pair from an ankle boot, them I had that made in Aluminium

It is a pretty good guide to my foot shape as drapping my own foor is
uncomfortable to say the least :)

Mel


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From h-costume-bounces@indra.com  Sat Nov  8 13:28:17 2003
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Subject: Re: [h-cost] where'd it go???
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Yes, that's the stuff. I've tried the tubing and not liked the results very
much. Of course, I could not remember for the life of me *where* I had read
all about this...and so figured it was on the site I couldn't get too :-P

I'll be going to Home Depot tonight, so I'll check it out and see what
they've got, now that I have a better idea of what I'm looking for.

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



----- Original Message -----
From: "Sarah" <sarah@modehistorique.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Saturday, November 08, 2003 11:24 AM
Subject: Re: [h-cost] where'd it go???


> Ah, I see... Jen mentioned "wire rope".  I got confused and thought
> that you were refering to something on the Elizabethan Lady website,
> which I'm 99.9% sure never mentioned wire rope.
>
> I'm not sure if this what Jen used, but I have seen braided wire cable
> at Home Depot that looks sturdy enough to work in a farthingale.  You'd
> most likely find it in the electrical section, and I believe it comes
> on those large spools, so you'd have to get it cut by an employee.
>
> Sarah
>
>
> On Saturday, November 8, 2003, at 07:24  AM, randl@adelphia.net wrote:
>
> > go down to the 07/13/03 entry.
> > i went looking for "wire rope" too. i  found a lot of different types
> > of wire and rope, no wire rope. i've been meaning to drop her a line,
> > but i'm a slacker:) if you find it (the wire rope) please post!
> > laurie
> >
> > http://homepage.mac.com/festive_attyre/research/diary2002/page3.html
> > On Friday, November 7, 2003, at 09:04 PM, h-costume-request@indra.com
> > wrote:
> >
> >>
> >> Message: 11
> >> Date: Fri, 7 Nov 2003 16:25:19 -0600
> >> From: <lotsofteapots@charter.net>
> >> Subject: Re: [h-cost] where'd it go???
> >> To: "Historical Costume" <h-costume@indra.com>
> >> Message-ID: <008f01c3a57e$0750bd20$4392c418@mad.chartermi.net>
> >> Content-Type: text/plain; charset="iso-8859-1"
> >>
> >> Whew - I thought it had disappeared! Actually, I think it was on your
> >> page,
> >> where you used some sort of wired rope for a corded petticoat? I was
> >> at Home
> >> Depot today and couldn't find anything like that in the rope section,
> >> so I
> >> wanted to double check my very faulty memory against what I had
> >> read....oh....2-3 months ago ;-P
> >>
> >> I'll look forward to seeing your new site up and running.
> >>
> >> **********************
> >> Rebecca Schmitt
> >> aka Agnes Cabot, wife of Master Peter Cabot
> >> BRF FOF; Guilde of St. Lawrence
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> _________________________________________________
> http://www.elizabethanlady.com
>
> "Those who are willing to sacrifice their basic liberties to assure
> their security deserve neither..."
>
> Benjamin Franklin
>
>
> _______________________________________________
> 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  Sat Nov  8 15:25:30 2003
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From: Kate Pinner <pinner@mccc.edu>
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Wire rope is also known as aircraft cable, sometimes just cable.  You might
find it in the same are as chain.  You either use 'crosbys' or nicopress
fittings to attach it.
Kate

Sarah wrote:

> Ah, I see... Jen mentioned "wire rope".  I got confused and thought
> that you were refering to something on the Elizabethan Lady website,
> which I'm 99.9% sure never mentioned wire rope.
>
> I'm not sure if this what Jen used, but I have seen braided wire cable
> at Home Depot that looks sturdy enough to work in a farthingale.  You'd
> most likely find it in the electrical section, and I believe it comes
> on those large spools, so you'd have to get it cut by an employee.
>
> Sarah
>
> On Saturday, November 8, 2003, at 07:24  AM, randl@adelphia.net wrote:
>
> > go down to the 07/13/03 entry.
> > i went looking for "wire rope" too. i  found a lot of different types
> > of wire and rope, no wire rope. i've been meaning to drop her a line,
> > but i'm a slacker:) if you find it (the wire rope) please post!
> > laurie
> >
> > http://homepage.mac.com/festive_attyre/research/diary2002/page3.html
> > On Friday, November 7, 2003, at 09:04 PM, h-costume-request@indra.com
> > wrote:
> >
> >>
> >> Message: 11
> >> Date: Fri, 7 Nov 2003 16:25:19 -0600
> >> From: <lotsofteapots@charter.net>
> >> Subject: Re: [h-cost] where'd it go???
> >> To: "Historical Costume" <h-costume@indra.com>
> >> Message-ID: <008f01c3a57e$0750bd20$4392c418@mad.chartermi.net>
> >> Content-Type: text/plain;    charset="iso-8859-1"
> >>
> >> Whew - I thought it had disappeared! Actually, I think it was on your
> >> page,
> >> where you used some sort of wired rope for a corded petticoat? I was
> >> at Home
> >> Depot today and couldn't find anything like that in the rope section,
> >> so I
> >> wanted to double check my very faulty memory against what I had
> >> read....oh....2-3 months ago ;-P
> >>
> >> I'll look forward to seeing your new site up and running.
> >>
> >> **********************
> >> Rebecca Schmitt
> >> aka Agnes Cabot, wife of Master Peter Cabot
> >> BRF FOF; Guilde of St. Lawrence
> >
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
> >
> >
> _________________________________________________
> http://www.elizabethanlady.com
>
> "Those who are willing to sacrifice their basic liberties to assure
> their security deserve neither..."
>
> Benjamin Franklin
>
> _______________________________________________
> 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 Nov  9 00:06:55 2003
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Subject: Re: Re:making shoe patterns was Re: [h-cost] Re: Psychic Archaeology
	-OT -	Are u
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>Perhaps String Theory, as discussed on NOVA, as mentioned by Sarah,  might
>prove to be an explaination for these occurances.  Then we'll only have to
>sort out fraud, from misinterpretation, from genuine
>events................Yikes!!  I think for costuming research, I'll be
>sticking to linear and documentable sources......

I think for historical costuming that would be more "thread theory",   
Honestly, with regards to modern physics, I came to realize that I was going 
to have issues when someone explained Shroedinger's cat to me, and my brain 
refused to accept the whole collapsing probability wave function thing since 
objectively there's just a cat in the box, condition unknown and whether or 
not we perceive it is irrelevant.  String theory is just worse -- 
particularly since it can't be tested.

From: Sue Clemenger
>For drooling purposes, if nothing else!
>I've been spending a lot of time lately, cruising the tunic/hood
>pages--it's really nice to have the different examples and categories. And 
>a couple of those Spanish garments have a future with me--a friend
>of mine and I want to "recreate" a picture from Islamic Spain that shows
>a Muslim woman and a Christian woman.

I hope it works out.  I'm convinced that eventually I'll get back to that 
site and start putting up the other items I have stuff on.

Marc

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Subject: [h-cost] Re: Shoes
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From: "Sheridan & Shane"
>You mentioned in another post that the plaster last made from an old shoe
>was problematic, what specifically was/is the problem? My husband was
>actually just about to use his last pair of sneakers to make a couple of
>lasts per your article, any pointers or tips before we proceed to make a
>plastery mess of my kitchen? :-) I do actually own a couple of wooden lasts
>(an inheritance) but they are in storage somewhere on the other end of the
>country.

Ok, the -major- trauma was that when I did this, I used an old pair of army 
dress shoes I had on hand.  I secured them fairly tightly but ultimately 
when I poured the plaster the fact that I was creating an image of the 
inside of a shoe wound up working against me -- the sides and sole bulged 
unevenly (for the pressure reasons that Lisa mentions), and I wound up with 
some unexpected ridges from the "tabs" (where the shoelaces go) along the 
instep.  Look carefully and I do really say that I don't think people should 
waste much time with this technique :)

Marc

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Subject: Re: [h-cost]	Time travel as research tool of the future... (was RE:
	Psychic	Archeology)
Date: Sun, 9 Nov 2003 20:55:58 +1100
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> This has nothing to do with "Psychic Archeology" (I'm really biting my 
> tongue on that one), but there is the field of quantum physics that 
> allows for the possibility of multiple universes and time travel.  
> It's entirely too complex for me to even begin to fathom, but the 
> September 2001 issue of Discover ran a great article on it 
> (http://www.discover.com/issues/sep-01/cover/).  Most recently, it's 
> been the subject of a new NOVA series on PBS, but since I no longer 
> have a TV, I haven't yet seen any episodes dealing with it.  
> 
Speaking as someone who used to be a quantum physicist, I
wouldn't be holding my breath. The 'many worlds' theory of
quantum mechanics is only one way of interpreting it, and time
travel still, as far as we know, requires conditions that are not
allowed in this universe in order to occur. Sorry to be a killjoy :-)

> Anyhoo... I would have to agree with Kass on this.  I think time 
> travel would kill the fun in costuming for me.  Sure, it would be 
> interesting to answer all those pressing questions we debate about 
> constantly, but to me, time travel would feel like cheating.  
I think it would kill part of the fun, but not all of it. There are two
parts of it for me - the research side which is kind of like a puzzle,
and the making stuff/reviving lost arts parts which is a pleasure for
entirely different reasons. Time travel would take some of the 
puzzle out of the research (though I'm sure it wouldn't answer all
the questions), but it wouldn't take away from the other part.

Claire

> 
> Sarah
> _______________________________________________
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Subject: [h-cost] John of Eltham effigy?
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Hi Folks,

I'm trying to track down Norris's alleged source for a headdress, but it 
seems to be obscure.  He writes:

Queen, from the time of Edward II (figure 300, p. 215): The figures of 
"weepers" on the tomb of John of Eltham represented kings and queens, 
relatives of the deceased.  It is not certain which is Margaret of 
France, second queen of Edward I, but all the queens are robed in 
costumes such as this lady and her niece, Isabella of France, Queen of 
Edward II, would wear.

Websearching has turned up only one lead: An article in the journal 
CHURCH MONUMENTS - VOLUME II 1987 by Leslie Southwick: "The Armoured 
Effigy of Prince John of Eltham in Westminster Abbey and Some Closely 
Related Military Monuments."

I'm hoping someone might have a survey of funerary items that covers 
John of Eltham; the books I have do not even mention him.  I'll see if 
ILL might let me read the article, but from the title, it might not 
cover ancillary figures.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: [h-cost] 
	Time travel as research tool of the future... (was RE:Psychic
	Archeology)
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Sarah (I think wrote)
> >
> Speaking as someone who used to be a quantum physicist, I
> wouldn't be holding my breath. The 'many worlds' theory of
> quantum mechanics is only one way of interpreting it, and time
> travel still, as far as we know, requires conditions that are not
> allowed in this universe in order to occur. Sorry to be a killjoy :-)
>

I've had a few dreams where the clothing or they way clothing was worn was
in a dream.  Such as a composite charater "Chris" had the shirt buttons
undone in a dream and later two years later at a fancy event that matched
the dream description a man who matched the rest of the contents of the
dream was the only manager not wearing a tie, but had the first button
undone on his shirt and it was talked about.  The thing I've noticed about
my dreams though is, they seem to only cover events or time periods that I
eventually experience, nothing beyond my life time, either before or after
which makes "psychic" costume research out of reach.

Lisa Sinervo
www.thrednedlestrete.com



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Subject: Re: Re:making shoe patterns was Re: [h-cost] Re: Psychic
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Marc wrote:

> I think for historical costuming that would be more "thread theory",
> Honestly, with regards to modern physics, I came to realize that I was
going
> to have issues when someone explained Shroedinger's cat to me, and my
brain
> refused to accept the whole collapsing probability wave function thing
since
> objectively there's just a cat in the box, condition unknown and whether
or
> not we perceive it is irrelevant.  String theory is just worse --
> particularly since it can't be tested.
>

HA HA, I've never understood that cat scenerio myself.  "Thread Theory" :)
sounds interesting to me, but I'm definetly in the Jung camp based upon my
experiences especially since dreams have a timeless quality even if they end
up being about the future which constantly surprises me in a way that makes
life so very interesting.  Time travel to me, is like traveling to a place
that doesn't exist, but in a way, it does happen.

Don't know why I don't dream about the distant past, but I guess that only
happens in sitcoms.  If I had a dream about a 16th century tailoring
technique, based upon the patterns of my dreams, my guess would be that I
was dreaming about a re-enactment that I'd be running into in the future.

Lisa


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Not to spout doctrine or anything of the sort, but I've always been
fascinated by one of the Wiccan sayings: "All space is here, all time is
now," which you have to admit has all sorts of interesting connotations.
:)

Let's see, obligatory costume content: what exactly is a blanchet? I was
reading _The Goodman of Paris_ and happened upon it.

Arlys

On Sun, 9 Nov 2003 08:57:58 -0800 "Lisa Sinervo"
<Lisa-list@thrednedlestrete.com> writes:
> Marc wrote:
> 
> > I think for historical costuming that would be more "thread 
> theory",
> > Honestly, with regards to modern physics, I came to realize that I 
> was
> going
> > to have issues when someone explained Shroedinger's cat to me, and 
> my
> brain
> > refused to accept the whole collapsing probability wave function 
> thing
> since
> > objectively there's just a cat in the box, condition unknown and 
> whether
> or
> > not we perceive it is irrelevant.  String theory is just worse --
> > particularly since it can't be tested.
> >
> 
> HA HA, I've never understood that cat scenerio myself.  "Thread 
> Theory" :)
> sounds interesting to me, but I'm definetly in the Jung camp based 
> upon my
> experiences especially since dreams have a timeless quality even if 
> they end
> up being about the future which constantly surprises me in a way 
> that makes
> life so very interesting.  Time travel to me, is like traveling to a 
> place
> that doesn't exist, but in a way, it does happen.
> 
> Don't know why I don't dream about the distant past, but I guess 
> that only
> happens in sitcoms.  If I had a dream about a 16th century tailoring
> technique, based upon the patterns of my dreams, my guess would be 
> that I
> was dreaming about a re-enactment that I'd be running into in the 
> future.
> 
> Lisa
> 
> 
> _______________________________________________
> 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] 	Time travel as research tool of the future... (was
	RE:Psychic	Archeology)
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I would love to have more, real data for my chosen time periods. 
Although the puzzle is part of what I enjoy, I also like *making* the 
things, and seeing people wear them.  Being able to make them would 
still remain after a time-travel expedition to the past.

I envision someone with a miniturized video camera setup, just walking 
around a large city during daylight.  That would expand our knowledge so 
much, and is so simple!  They wouldn't have to speak the language, know 
a trade, or convince people to show them how to do this thing or the other.

It would be harder to get admittance to the Court for the various noble 
fashions and habits, of course.  Not sure how to arrange that (for 
whatever era), unless they were having a tourney or something outside.

Although, heck, if we're postulating time travel, why not invisibility?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Instead of starting by drawing a random sample and then testing for the 
occurrence of a rare event, we select rare events that happened and find 
ourselves marveling at their nonrandomness.  This is like the archer who 
first shoots an arrow and then draws the target circle around it."  -- 
Ruma Falk
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From: "Sue" <sue@victorianmillinery.com>
To: "Historical Costume" <h-costume@indra.com>
Date: Sun, 9 Nov 2003 15:01:26 -0500
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Subject: [h-cost] ebay heads up
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Just a heads up for a great 1920's wedding gown  #2869278491 on ebay
Cordially,
Sue Shatto
401 Fairview Ave
Frederick, MD 21701
http:\\www.VictorianMillinery.com
301-694-8950

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From h-costume-bounces@indra.com  Sun Nov  9 16:39:29 2003
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Subject: Re: [h-cost] 	Time travel as research tool of the future...
	(wasRE:Psychic	Archeology)
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Or a really fun career would be a time traveling costume instructor!!!  You
could be a college professor and take your classroom on an actual costume
tour of history like Scrooge I guess.  That would just be the best, yes, and
of course we'd be invisible, then back to the classroom to apply these
techniques!!

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Cynthia Virtue" <cvirtue+dated+1083953187.07e012@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 09, 2003 10:08 AM
Subject: Re: [h-cost] Time travel as research tool of the future...
(wasRE:Psychic Archeology)


> I would love to have more, real data for my chosen time periods.
> Although the puzzle is part of what I enjoy, I also like *making* the
> things, and seeing people wear them.  Being able to make them would
> still remain after a time-travel expedition to the past.
>
> I envision someone with a miniturized video camera setup, just walking
> around a large city during daylight.  That would expand our knowledge so
> much, and is so simple!  They wouldn't have to speak the language, know
> a trade, or convince people to show them how to do this thing or the
other.
>
> It would be harder to get admittance to the Court for the various noble
> fashions and habits, of course.  Not sure how to arrange that (for
> whatever era), unless they were having a tourney or something outside.
>
> Although, heck, if we're postulating time travel, why not invisibility?
>
> --
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
> "Instead of starting by drawing a random sample and then testing for the
> occurrence of a rare event, we select rare events that happened and find
> ourselves marveling at their nonrandomness.  This is like the archer who
> first shoots an arrow and then draws the target circle around it."  --
> Ruma Falk
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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Subject: Re: Re:making shoe patterns was Re: [h-cost] Re:
	PsychicArchaeology-OT -	Are u
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Arlys wrote:
> Let's see, obligatory costume content: what exactly is a blanchet? I was
> reading _The Goodman of Paris_ and happened upon it.
>

One early usage was for white woolen cloth, which eventually came into
English as "blanket".
More context from "Menagier", please; since it could also mean blanching in
a cooking context, or just simple whitening, for linens, etc. in one of the
other household recipes.
                   -Helen/Aidan


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From: Gail & Scott Finke <gailscott@eos.net>
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Regarding this quantum theory/alternate dimensions stuff, I think that's the
basis of Michael Crichton's stupid book "Timeline." The characters are
always hopping off into the past -- but it isn't really INTO the past, it's
into an alternate dimension that's exactly like the past. And then they come
back, but they aren't really coming back, they're coming to a ... you get
the picture. Sometimes fiction can really help explain an esoteric theory,
but that book just had me saying "Well, how CONVENIENT!" Very convenient, I
mean, that the people managed to "come back" because someone in some other
identical dimension was sending someone forward, because all the dimensions
are related. Except that if you travel too many times, terrible things begin
to happen to you. Again, how convenient! (for the plot, that is)

Obligatory costume content: as I said on this list before, the worst part
was that the female character had to wear a wig back to the past, so that
she didn't get arrested and killed for impersonating a boy. Then at one
point she takes her wig off, and is apparently considered a boy -- although
she never changes clothes, so I suppose she is still in a dress, unless she
was in boy's clothes and a girl's wig at the beginning. Sigh. Not to mention
that she's a rock climber, and she climbs everything in sight. The movie
comes out in the US later this month, we can always hope for an improvement,
as unlikely as it is.

Here's a hint: The villain is "the Archpriest." When a story has a priest as
the villain, I know the writer has hit rock bottom, idea-wise. So if it's an
ARCHpriest, well, you know he's got to be bad!!!!

Gail Finke


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> I know the gal with the vertandsable website (cf Renaissance Tailor
> group).  She's a completely amazing person and artisan (in other
> words, I wanna be her when I grow up!).  I'd imagine that the list
> would be a good mix of the practical and the theoretical and the
> historical (if that makes any sense!) --sue

She's a buddy of mine and her primary interest is research into the 
tailoring methods of that time period. The list, of course, isn't 
just her. Her site http://www.vertetsable.com/ is also very helpful. 
You can see some of the stuff she's already found.

Kat
<kat@redtrollforge.com>


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> My friends in Europe tell me that the shoes are a dead give-away.  As
> soon as they see Nikes they know where you're from.   ;-D   Which
> explains why my hubby and I usually fool them.   All his shoes are
> made in England, and most of mine (that aren't hand made by people
> like you guys) from Germany.   But I speak French and a little
> Italian.   We're very confusing.  ;-D

Ah, that may be one of the reasons why I was thought to be "local." I 
had bought a pair of "walking shoes" made by Clark, which is also an 
English chain. And I dressed in conservative colors, rather than in 
bright colors. (The only English person I've ever met who wears 
bright colors is our own dear Teddy. But then, he's a law unto 
himself!)

> Ah, but the dead give-away for THEM is that, although their tees and
> jeans have English written all over them, most of the time it's wrong,
> doesn't make sense (or only makes sense to them).... especially true
> in Italy, where we saw kids wearing stuff that was hilarious!

In Japan this is called "Japlish." ;)

Kat
<kat@redtrollforge.com>


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Subject: [h-cost] Half-globe cauls not Norris' fault
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Hi Folks,

In the continuing search for documentation, I have found that the 
half-globe calls (call 'em 1340 or so) are not precisely Norris' fault. 
  Careful staring at his illustrations doesn't show nets-over-buns under 
veils, it's probably just braids.

So the next question is: is there an author who invented the rigid 
structures at the side of the head (not the cylinders) or who 
interpreted Norris to have netting?

I'm going to be sifting through my costume books, but if y'all have any 
bright ideas, I'd like to hear about them.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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Date: Sun, 9 Nov 2003 17:30:37 -0800
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Subject: Re: [h-cost] where'd it go???
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At 6:51 PM -0500 11/7/03, Sarah Goodman-Rodriguez wrote:
>Oh, that was polyeurethane tubing (I know I butchered the spelling on
>that...), 3/4" diameter, I think.  It was a while ago, so I can't
>remember exactly what I used.  It should be in the plumbing section of
>Home Depot, if I remember correctly.  :)

Thank you!! that's an answer I was looking for a while back. People 
were suggesting I try plastic tubing in my new farthingale (because 
it's lightweight), but no one could tell me "made of what kind of 
plastic?" or "what size?" Now I know what to look for.
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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Subject: [h-cost] Re: Time travel as research tool of the future... (was RE:
 Psychic 	Archeology)
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At 7:02 PM -0500 11/7/03, Sarah Goodman-Rodriguez wrote:
>Anyhoo... I would have to agree with Kass on this.  I think time
>travel would kill the fun in costuming for me.  Sure, it would be
>interesting to answer all those pressing questions we debate about
>constantly, but to me, time travel would feel like cheating.

Hm. Actually, I disagree that it would be "cheating" -- and here's 
why. Think of an anthropologist: they are studying a culture that 
still _has_ living, breathing, people in it, who are perfectly 
capable of discussing their culture in great detail and answering a 
lot of the kinds of questions we would love to ask our medieval, 
renaissance, Victorian et cetera forebears.

Does this make their research easy or answer all the questions the 
researcher might have? Nope.

Even if we _could_ answer a lot of our questions by "peeking" into 
the past with time travel, I think we'd just come up with more 
questions!
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From h-costume-bounces@indra.com  Mon Nov 10 00:32:48 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Typing people by background, clothes, and stuff...
Date: Sun, 9 Nov 2003 21:32:45 -0800
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When I lived in Germany we had a saying:  "If you are the only person in a
group that doesn't speak German, someone will come up and ask directions -
in German".

I asked a friend from Belgium why this was (same thing happened to me there,
also in German though I don't look German).  She said it was because
Americans seem so much more approachable.  We frequently have a smile on our
faces and seem more relaxed and happy.  She contrasted this with her
Belgian, French, and German relatives who tend to be quite formal and
forbidding unless they are three sheets to the wind.  She found this to be
an endearing quality about us.

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of kat@grendal.rain.com
> Sent: Sunday, November 09, 2003 4:27 PM
> To: Historical Costume
> Subject: Re: [h-cost] Typing people by background, clothes, and stuff...
>
>
>
> > My friends in Europe tell me that the shoes are a dead give-away.  As
> > soon as they see Nikes they know where you're from.   ;-D   Which
> > explains why my hubby and I usually fool them.   All his shoes are
> > made in England, and most of mine (that aren't hand made by people
> > like you guys) from Germany.   But I speak French and a little
> > Italian.   We're very confusing.  ;-D
>
> Ah, that may be one of the reasons why I was thought to be "local." I
> had bought a pair of "walking shoes" made by Clark, which is also an
> English chain. And I dressed in conservative colors, rather than in
> bright colors. (The only English person I've ever met who wears
> bright colors is our own dear Teddy. But then, he's a law unto
> himself!)
>
> > Ah, but the dead give-away for THEM is that, although their tees and
> > jeans have English written all over them, most of the time it's wrong,
> > doesn't make sense (or only makes sense to them).... especially true
> > in Italy, where we saw kids wearing stuff that was hilarious!
>
> In Japan this is called "Japlish." ;)
>
> 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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From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost]  Time travel as research tool of the future...
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> > Anyhoo... I would have to agree with Kass on this.  I think time
> > travel would kill the fun in costuming for me.  Sure, it would be
> > interesting to answer all those pressing questions we debate about
> > constantly, but to me, time travel would feel like cheating.

If I could time travel, I'd never have to sew again - I'd just go back and 
have the stuff made and bring it back.  The sewing part is a means to an 
end, as far as I'm concerned.  The real fun is wearing the stuff, and doing 
living history in it.


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

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Subject: Re: [h-cost] Half-globe cauls not Norris' fault
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----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1083976949.b7af2c@thibault.org>
To: <h-costume@indra.com>
Sent: Monday, November 10, 2003 11:44 AM
Subject: [h-cost] Half-globe cauls not Norris' fault


Hi Folks,

In the continuing search for documentation, I have found that the 
half-globe calls (call 'em 1340 or so) are not precisely Norris' fault. 
  Careful staring at his illustrations doesn't show nets-over-buns under 
veils, it's probably just braids.

So the next question is: is there an author who invented the rigid 
structures at the side of the head (not the cylinders) or who 
interpreted Norris to have netting?

I'm going to be sifting through my costume books, but if y'all have any 
bright ideas, I'd like to hear about them.
-------
Well Viollet Le Duc cops a lot of the blame for the serious 
misinterpretation of the bliaut. Perhaps he did similar work on
headdresses. 

Claire
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Purple Elephant wrote:
> Well Viollet Le Duc cops a lot of the blame for the serious 
> misinterpretation of the bliaut. Perhaps he did similar work on
> headdresses. 

Aha, yes, could be.  I am planning a saunter through 391 at the local 
library.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet LXXXI
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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I have a copy of this painting which was done by a painter who
very accurately reproduces renaissance works (signed as a copy
of course) and I have read this book so I am happy to hear they
are making it into a movie.



---- On Tue, 04 Nov 2003, Cynthia Virtue
(cvirtue+dated+1083489887.c64bbf@thibault.org) wrote:

> >> http://www.girlwithapearlearringmovie.com/
> I have a 1.5' x 2' poster of this painting 
> <http://cgfa.sunsite.dk/vermeer/p-vermee14.htm>.  It looks
like a dished 
> brass earring to me, not a [marine] pearl.  But if that's what
Vermeer 
> called it, then I must be mistaken.  The art historians think
it's an 
> actual pearl:
> 
>
http://girl-with-a-pearl-earring.20m.com/Girl_with_a_Pearl%20Earring_The_Pearl.htm
> 
> cv
> _______________________________________________
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> 

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Subject: [h-cost] blanchet (was: making shoes)
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Here's the excerpt. The Goodman is referring to proper attire:

"See that you be honestly clad, without new devices and too much
frippery, or too little. And before you leave your chamber or house, see
you first that the collar of your shift, and your blanchet, your robe or
your surcoat, straggle not forth one upon the other...." (Powers, 37,
Folio edition).

Arlys

On Sun, 9 Nov 2003 17:42:33 -0500 "Helen Pinto" <hpinto@mindspring.com>
writes:
> Arlys wrote:
> > Let's see, obligatory costume content: what exactly is a blanchet? 
> I was
> > reading _The Goodman of Paris_ and happened upon it.
> >
> 
> One early usage was for white woolen cloth, which eventually came 
> into
> English as "blanket".
> More context from "Menagier", please; since it could also mean 
> blanching in
> a cooking context, or just simple whitening, for linens, etc. in one 
> of the
> other household recipes.
>                    -Helen/Aidan
> 
> 
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> 


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Date: Mon, 10 Nov 2003 08:00:43 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost]  Time travel as research tool of the future...
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At 11:25 PM -0800 11/9/03, Carolyn Kayta Barrows wrote:
>>  > Anyhoo... I would have to agree with Kass on this.  I think time
>>>  travel would kill the fun in costuming for me.  Sure, it would be
>>>  interesting to answer all those pressing questions we debate about
>>>  constantly, but to me, time travel would feel like cheating.
>
>If I could time travel, I'd never have to sew again - I'd just go 
>back and have the stuff made and bring it back.  The sewing part is 
>a means to an end, as far as I'm concerned.  The real fun is wearing 
>the stuff, and doing living history in it.

Interesting plot possibilities ... the past as the ultimate 
"third-world labor market".  Hmmmmm.  Nah, too many writing projects 
already stacked up.

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Re:Time Travel
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From: Gail & Scott Finke <gailscott@eos.net>
>Regarding this quantum theory/alternate dimensions stuff, I think that's 
>the
>basis of Michael Crichton's stupid book "Timeline." The characters are
>always hopping off into the past -- but it isn't really INTO the past, it's
>into an alternate dimension that's exactly like the past....

While coincidentally, 500 years earlier someone from a universe identical to 
the modern world there came into THEIR universe and made all the necessary 
changes to their world so that it would look like there had been time 
travel.  Very convenient.

I loved the book, although it is undeniably flawed in some minor areas (like 
clothing), I'm sorry to say that the upcoming movie doesn't look like it's 
done the book any favors though in the changes they have made (and the 
clothes are pretty much hollywood medievaloid).  Now that I have no 
expectations for the movieactually being accurate, I can go see it and try 
to have a good time with it for what it is.

>Obligatory costume content: as I said on this list before, the worst part
>was that the female character had to wear a wig back to the past, so that
>she didn't get arrested and killed for impersonating a boy. Then at one
>point she takes her wig off, and is apparently considered a boy -- although
>she never changes clothes, so I suppose she is still in a dress, unless she
>was in boy's clothes and a girl's wig at the beginning.

Well, she -did- cut off all her hair.  And although you are correct, they 
don't mention her changing her clothes, since she was with two male 
characters, one of whom has been previously established to actually know 
what he's doing I did sort of assume that they made whatever adjustments to 
her attire would get her to "pass" without a lot of scrutiny.  (like I said, 
the book has some flaws)

>Sigh. Not to mention that she's a rock climber, and she climbs everything 
>in sight. The movie comes out in the US later this month, we can always 
>hope for an improvement,
>as unlikely as it is.

No, actually we can't.   While it HAS happened in the past that Hollywood 
has actually improved upon a book when it was made into a movie, the odds of 
this actually occuring for any given movie are so small as to be 
insignificant.  Therefore, if you are -looking- for accuracy, don't see this 
movie.  The costuming in "A Knight's Tale" looked better.

>Here's a hint: The villain is "the Archpriest." When a story has a priest 
>as
>the villain, I know the writer has hit rock bottom, idea-wise. So if it's 
>an
>ARCHpriest, well, you know he's got to be bad!!!!

Um, I know this is going to be a little surprising, but Arnaut de Cervole, 
aka the "Archpriest" (i.e. "A chief priest; spec. in early times, as still 
in the Italian Church, a kind of vicar to the bishop, acting also as dean of 
the cathedral" - OED2d ed.) was a real person historically.

Marc

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Marc Carlson wrote:
> I loved the book, although it is undeniably flawed in some minor areas 
> (like clothing), I'm sorry to say that the upcoming movie doesn't look 
> like it's done the book any favors though in the changes they have made 
> (and the clothes are pretty much hollywood medievaloid).  

The book was fun, though, given the expectation that it was written with 
a screenplay in mind, it was sometimes hard to read without every 30 
pages thinking "oh that action scene will make it to the movie" ... 
"yeah, that action scene was definitely written with a movie in mind."

> No, actually we can't.   While it HAS happened in the past that 
> Hollywood has actually improved upon a book when it was made into a 
> movie, the odds of this actually occuring for any given movie are so 
> small as to be insignificant.  Therefore, if you are -looking- for 
> accuracy, don't see this movie.  The costuming in "A Knight's Tale" 
> looked better.

And for some fun, try:
Aberth, John. A Knight at the Movies: Medieval History on Film
(Routledge, 2003)

Chapter titles are:
The Holy Grail of Hollywood King Arthur Films
Lights! Camera! Pillage! Viking Films
God (and the Studio) Wills It! Crusade Films
Splendid in Spandex Robin Hood Films
Welcome to the Apocalypse Black Death Films
Movies and the Maid Joan of Arc Films

- Hope

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Subject: [h-cost] Elizabethan Talk
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Everyone,

FYI: I (Drea Leed) am giving a talk on Elizabeth and Elizabethan fashion
tonight, at 7 pm the Tiffin-Seneca Library. (77 Jefferson St., Tiffin,
OH).

It's about an hour south of Toledo, and two hours north of Dayton.

Pretty short notice, and I don't know how many of you are a) interested
and b) in the area... but I thought I'd post the info, in case anyone was.

Thanks,

Drea

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Subject: Re: [h-cost] Facial and body types & costume (was: hair)
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Saragrace T. Knauf <saragrace@earthlink.net> wrote
>I thought the same thing when I read Robin's earlier comment about a
>group of people looking typically American because they were of varying
>physical types. Even ignoring Commonwealth immigration, we British are a
>pretty mixed lot. My mother (born 1912) has a fair complexion and her
>hair used to be auburn; her sister is very dark, and their brother
>started with fair hair which turned brown later. She told me recently
>that their three cousins had the same three colourings.
>
>Kate Bunting
>Library, University of Derby
>
>[Sg] Thanks for sharing that...it struck me as a little odd too.  Anyone who
>has spent some time in Europe knows that it is pretty mixed.   Even in the
>70's living in Germany there were considerable variations in folks living
>there.  (I remember a very dark African complete with facial tattoos
>approaching me in Hamburg and saying how beautiful I was....I was thirteen
>and scared to death!  I have often been mistaken for being mulatto [in spite
>of extremely pale skin and very Aryan features-except for my nose])  I mean
>after all Europe is a lot closer to Africa and the middle east!  Now Iceland
>and Greenland might be a different story!  What I do remember very clearly
>is that we were easily identifiable as American because of the way we
>dressed.  Used to be that I could pick out European tourists here by the way
>they dressed and did their hair.  Now with the way kids are dressing and
>doing their hair I am often mistaken.
>
>Sg

Interesting example - have any of you been watching the Rugby World Cup 
(I appreciate rugby is not much followed in the US).  Both in looks and 
in names, its interesting to see which teams are pretty homogenous and 
which are much more varied.  I think the Irish and Welsh in particular 
have much more incidence of red/light brown hair and fair skin than the 
English and Australians, and its amazing how you can spot an Afrikaaner 
in the SA team, as against what you might call "English white" South 
Africans. (As in the rest of this thread, nothing derogatory or 
political intended).  But I suppose the point is, it's one thing to look 
at population statistics, and quite another to try to categorise a 
single person by their ancestry.

Jean
-- 
Jean Waddie
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kat@grendal.rain.com wrote
>
>> If the Scottish is Lowland Scottish you might be more English than
>> you think *grin* Or it could just be that standard genetic variation
>> within any one regional group is sufficent to produce people who look
>> fabulous in a style and people who look terrible in it. In which case
>> we're right back to 'I would have looked terrible in it in period'.
>> Claire
>
>I know that the originator of my last name (Russell) is English, but
>that person emigrated (rather hurredly, the family records indicate
>due to some major religious differences) to Scotland during Mary I's
>reign. (Daddy and big brother fared much better. Look at the Duke of
>Bedford's family to see what the primary line did.) However, they
>were part of the Highland clearances. (Most of them were either
>weavers or Presbyterian ministers.)
>
>Mom's family came from a town at the head of Loch Tay called Killin
>(which was also the family's last name). I don't know if that is
>considered Highland or Lowland. (Jean, do you know?)
>
Killin is definitely in the Highlands.  It's a gorgeous place - very 
touristy now, I'm afraid, but the river runs into the loch through 
rapids known as the Falls of Dochart, its incredibly pretty, you're 
bound to find a picture of it. (Edinburgh University has an outdoor 
sports centre on Loch Tay, and Killin is the nearest place to buy 
postcards and chocolate!)

Jean
-- 
Jean Waddie
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Date: Mon, 10 Nov 2003 19:41:48 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Re: time travel
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Hey, why worry?  We saw the trailer for Timeline when we went to The 
Matrix: Revolution.  Switch off brain and critical faculties, watch 
Keanu.  If scriptwriters worried about logical inconsistencies, there'd 
be no films!  I'm seriously considering getting a bunch of re-enactor 
friends together for a Tuesday afternoon showing of Timeline and just 
ripping it to bits!

Jean


Gail & Scott Finke <gailscott@eos.net> wrote
>
>Regarding this quantum theory/alternate dimensions stuff, I think that's the
>basis of Michael Crichton's stupid book "Timeline." The characters are
>always hopping off into the past -- but it isn't really INTO the past, it's
>into an alternate dimension that's exactly like the past. And then they come
>back, but they aren't really coming back, they're coming to a ... you get
>the picture. Sometimes fiction can really help explain an esoteric theory,
>but that book just had me saying "Well, how CONVENIENT!" Very convenient, I
>mean, that the people managed to "come back" because someone in some other
>identical dimension was sending someone forward, because all the dimensions
>are related. Except that if you travel too many times, terrible things begin
>to happen to you. Again, how convenient! (for the plot, that is)
>
>Obligatory costume content: as I said on this list before, the worst part
>was that the female character had to wear a wig back to the past, so that
>she didn't get arrested and killed for impersonating a boy. Then at one
>point she takes her wig off, and is apparently considered a boy -- although
>she never changes clothes, so I suppose she is still in a dress, unless she
>was in boy's clothes and a girl's wig at the beginning. Sigh. Not to mention
>that she's a rock climber, and she climbs everything in sight. The movie
>comes out in the US later this month, we can always hope for an improvement,
>as unlikely as it is.
>
>Here's a hint: The villain is "the Archpriest." When a story has a priest as
>the villain, I know the writer has hit rock bottom, idea-wise. So if it's an
>ARCHpriest, well, you know he's got to be bad!!!!
>
>Gail Finke
>
>
>_______________________________________________
>h-costume mailing list
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-- 
Jean Waddie
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Date: Mon, 10 Nov 2003 11:47:19 -0800 (PST)
From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Re:  Time travel as research tool of the
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Heather wrote:
> Interesting plot possibilities ... the past as the
> ultimate 
> "third-world labor market".  Hmmmmm.  Nah, too many
> writing projects 
> already stacked up.

Forgive me if someone already brought this up -- but
does all this talk of time travel and material culture
remind anyone else of Kage Baker's fabulous "Company"
series of novels and short stories? 

The idea, in a nutshell, is that in the 24th century a
company goes back in time to select mortals in various
times and places to become immortal and work for the
Company as time progresses forward. They are assigned
jobs like secreting away great art treasures, plants
that will one day be extinct, etc. so that later, at a
point maximally advantageous to The Company, these
items or bits of lost knowledge can be 'discovered'. 

I love these books...

-Tasha

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	(wasRE:Psychic	Archeology)
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> It would be harder to get admittance to the Court for the various noble
> fashions and habits, of course.

Yes, but we already have more remaining portraits or garments from them than
people on the street...
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Oh, it is beautiful, and it would fit me, for once.
But... *sigh*... 350 USD... maybe when I'm really rich... if that ever
happens :-)

----- Original Message ----- 
From: "Sue" <sue@victorianmillinery.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 09, 2003 3:01 PM
Subject: [h-cost] ebay heads up


> Just a heads up for a great 1920's wedding gown  #2869278491 on ebay
> Cordially,
> Sue Shatto
> 401 Fairview Ave
> Frederick, MD 21701
> http:\\www.VictorianMillinery.com
> 301-694-8950
>
> _______________________________________________
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Subject: Timeline Re: [h-cost] Re:Time Travel
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> Now that I have no
> expectations for the movieactually being accurate, I can go see it and try
> to have a good time with it for what it is.

I'm not expecting much either, but I'll go to try to spot some people I know
who are.. probably somewhere in the background, blurry and buried under the
costumes and etc. It'll be fun trying to find them. They recruited from the
SCA and other medieval groups here in Quebec.
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>Regarding this quantum theory/alternate dimensions stuff, I think that's the
>basis of Michael Crichton's stupid book "Timeline." The characters are
>always hopping off into the past -- but it isn't really INTO the past, it's
>into an alternate dimension that's exactly like the past. <snip>
>Here's a hint: The villain is "the Archpriest." When a story has a priest as
>the villain, I know the writer has hit rock bottom, idea-wise. So if it's an
>ARCHpriest, well, you know he's got to be bad!!!!
>
>Gail Finke

Have a friend who worked on this film.  Here's his Short Version:

1.  VERY fun.
2.  NOT historical, it's Pretend Historical
3.  Final version probably does not make sense
4.  Lot of things blow up, therefore
5.  This movie is not for US on this list, it's for:
6.  The people who wear baggy shorts, tee shirts,  saw Knight's Tale 
twice, and thought the fuzzy hair scrunchies were "like, 
sooooooooooo, like, Medieval"

Rima
I'll wait for Girl With A Pearl Earring.....
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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] 	Time travel as research tool of the
	future...(wasRE:Psychic	Archeology)
Date: Mon, 10 Nov 2003 17:18:09 -0600
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 Have a go at Connie Willis' "The Domesday Book"  Without giving too much
away, the time traveller in this book has trouble at first with her
implanted translator, due to the fact that it was based on the speech of the
upper classes(and her own knowledge based on the writings of Chaucer and
others) and despite the fact that she carded, wove and dyed her clothing, it
was still too fine for most classes of folk.

Better than 99% of the so-called time-travel books out there where most of
time time-travelers and "natives" can understand each other perfectly,
despite a 400 or more year language gap.

Cindy Abel

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Subject: Re: [h-cost] Re: time travel
Date: Tue, 11 Nov 2003 10:30:50 +1100
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Jean wrote:

> I'm seriously considering getting a bunch of re-enactor
> friends together for a Tuesday afternoon showing of Timeline and just
> ripping it to bits!
>

Some of my friends do that, but go to dinner beforehand and have a few
drinks...

Apparently they were sooo close to being thrown out of Leo's The Man in the
Iron Mask when the mask was taken off after so many years, and the face
underneath was fresh as a daisy! You can imagine the fellow theatre-goers
horror at the crucial, dramatic time of a movie being interrupted by hoots
of slightly (?) inebriated laughter!

Unfortunately, it's a little hard for me to get there, as it's during the
week, I live over an hour from the city
centre and I have the boys to look after. My MIL is now retired, so it's now
a bit easier for me to go out. Hoooray!

Glenda.

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Then there was the comic book about the man who built a time machine in his
7th floor apartment and went back in time - - -


-C.

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re:  Time travel as research tool of the
Date: Mon, 10 Nov 2003 21:24:38 -0500
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On Monday 10 November 2003 02:47 pm, Tasha McGann wrote:

> Forgive me if someone already brought this up -- but
> does all this talk of time travel and material culture
> remind anyone else of Kage Baker's fabulous "Company"
> series of novels and short stories?

There are short stories?

I love the novels--I'm still waiting for the fourth novel, "The Graveyard 
Game" to come out in mass market paperback.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Well, I finally got enough time to play with that bolt of cotton-linen I 
picked up the week before Halloween.

It's a light, bright green, the color of pistachio ice cream. I decided 
to try for something else. I started by running it through the washer 
twice on hot as suggested, then giving it a bath in RIT color remover 
for 40 minutes.

I was shocked when the bath turned it bright purple, but as the water 
cooled it subdued to a hot pink color.

When I rinsed the fabric it reverted back to its pistachio green color.

I've got it in the washing machine now for a heavy rinse. I suspect it 
will still be green when that's done. It's disappointing, but I'm sure I 
can find a period shade of green to put over it.




Dawn



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Subject: RE: [h-cost] report: dyeing linen
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Wow, how strange....I vote for "Goose Turd Green"  (one of my personal
faves!)



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Subject: Re: [h-cost] blanchet (was: making shoes)
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Arlys wrote:
> > Let's see, obligatory costume content: what exactly is a blanchet? 
> > I was reading _The Goodman of Paris_ and happened upon it.
Aidan wrote:
> > One early usage was for white woolen cloth, which eventually
> > came into English as "blanket".
> > More context from "Menagier", please; since it could also mean 
> > blanching in a cooking context, or just simple whitening, for linens, 
> > etc. in one of the other household recipes.
Arlys wrote:
> Here's the excerpt. The Goodman is referring to proper attire:
> "See that you be honestly clad, without new devices and too much
> frippery, or too little. And before you leave your chamber or house, see
> you first that the collar of your shift, and your blanchet, your robe or
> your surcoat, straggle not forth one upon the other...." (Powers, 37,
> Folio edition).


The context would certainly make it an item of clothing, probably 
women's clothing, since it's the new wife's that he's referring to.  
So I dug out my copy of "Menagier" and there are two additional 
references, one to a white woolen cloth to be laid on the bed to 
attract and remove fleas (p.115, Eileen Power trans., section on 
housekeeping), but the second one is the meaningful one.  In the 
notes, p.208, in a note written by Jerome Pichon, he defines the 
blanchet as a short garment of white cloth or flannel worn over the
chemise.  A guess here, but maybe it's some sort of a neckline 
filler, for modesty or warmth, like when a wimple isn't being worn?  
Any other guesses?
                -Helen/Aidan

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Date: Mon, 10 Nov 2003 20:33:19 -0700
From: Sue Clemenger <mooncat@in-tch.com>
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Huh?
--sue

Christopher Ballis wrote:
> 
> Then there was the comic book about the man who built a time machine in his
> 7th floor apartment and went back in time - - -
> 
> -C.
> 
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Subject: Re: [h-cost] 	Time travel as research tool of
	thefuture...(wasRE:Psychic	 Archeology)
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I liked that one.  I reread it every winter.
--sue

Cindy Abel wrote:
> 
>  Have a go at Connie Willis' "The Domesday Book"  Without giving too much
> away, the time traveller in this book has trouble at first with her
> implanted translator, due to the fact that it was based on the speech of the
> upper classes(and her own knowledge based on the writings of Chaucer and
> others) and despite the fact that she carded, wove and dyed her clothing, it
> was still too fine for most classes of folk.
> 
> Better than 99% of the so-called time-travel books out there where most of
> time time-travelers and "natives" can understand each other perfectly,
> despite a 400 or more year language gap.
> 
> Cindy Abel
> 
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In a message dated 11/10/2003 9:29:29 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> I was shocked when the bath turned it bright purple, but as the water 
> cooled it subdued to a hot pink color.
> 
> When I rinsed the fabric it reverted back to its pistachio green color.
> 
> 

Doncha love chemicals?
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Subject: [h-cost] Was body types, etc, now Finnish music
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Try Varrtina, another women's group from Finland; I recommend "Oi Dai",
"Aitara", "Seleniko", and "Vihma".
Also try Rosenberg 7, from Norway.
            -Helen/Aidan


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Subject: [h-cost] Re: time travel -- Kage Baker's books
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Cathy wrote:
> There are short stories?

Yes! She's got a collection of stories called _Black
Projects, White Knights: The Company Dossiers_,
published by Golden Gryphon. It's available on Amazon,
but only in hardback for about $18 (US):

http://makeashorterlink.com/?M2C856086

-Tasha

=====
***Updated as of November 1, 2003: Aumônière-mania!***
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] Sorta OT: Kage Baker's time travel fiction
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Funny that this author comes up - I just discovered Baker from Drea, who
recommended "Garden of Iden" to me. I really enjoyed it and the sequel "Sky
Coyote" is on my never-ending book pile.

I didn't know there were Company short stories either - where could I find
these?

Allison T.

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To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Was body types, etc, now Finnish music
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At 10:57 PM -0500 11/10/03, Helen  Pinto wrote:
>Try Varrtina, another women's group from Finland; I recommend "Oi Dai",
>"Aitara", "Seleniko", and "Vihma".

I have a CD that claims to be Varttina's "Seleniko" but turns out to 
actually be an odd assortment of Latino music (I'm not familiar 
enough with styles to identify precise origins, but some of it sounds 
Mexican and some sounds Cuban.  Definitely Spanish language.) 
Weirdest thing.

Heather
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Saragrace T. Knauf wrote:

> Wow, how strange....I vote for "Goose Turd Green"  (one of my personal
> faves!)

It's in the dryer now getting less waterlogged before I iron it. I swear 
it's brighter than when I started.

I love the olive/ moss/ goose turd colors, too. Unfortunately I already 
have two skirts, a bodice, and italian gown in those colors, plus two 
bolts of linen that came that color.... so I'm thinking this stuff is 
going to end up some shade of brown unless I can document teal or 
peacock blue.  :)



Dawn



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Subject: Re: [h-cost] Sorta OT: Kage Baker's time travel fiction
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Most of the ones I've seen were in Asimov magazine.  /Very/
interesting...and very funny, some of them!  I hope she puts some together
in an anthology, soon.

Mendoza in Hollywood is the one after Sky Coyote, where you start to get
an idea of where the whole series is headed.

Plus, she teaches elizabethan pronunciation. Definitely on my short list
of people I'd love to go to lunch with...her and Judi Dench.

Drea


On Mon, 10 Nov 2003, A.Thurman wrote:

> Funny that this author comes up - I just discovered Baker from Drea, who
> recommended "Garden of Iden" to me. I really enjoyed it and the sequel "Sky
> Coyote" is on my never-ending book pile.
>
> I didn't know there were Company short stories either - where could I find
> these?
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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On Mon, 10 Nov 2003 22:28:57 -0600 Dawn <dawn@reddawn.net> writes:
> .... so I'm thinking this stuff 
> is going to end up some shade of brown unless I can document teal or 
> peacock blue.  :)
> 
> 
> 
> Dawn

I don't know if you can document teal, but there are references to
'drake's colour' which I take to be very similar to teal or blue/green.  


Karen

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> So I dug out my copy of "Menagier" and there are two additional 
> references, one to a white woolen cloth to be laid on the bed to 
> attract and remove fleas (p.115, Eileen Power trans., section on 
> housekeeping), but the second one is the meaningful one.  In the 
> notes, p.208, in a note written by Jerome Pichon, he defines the 
> blanchet as a short garment of white cloth or flannel worn over the
> chemise.  A guess here, but maybe it's some sort of a neckline 
> filler, for modesty or warmth, like when a wimple isn't being worn?  
> 
> Any other guesses?

My guess was that it might be some sort of short stole worn under the
gown but covering the shoulders and upper chest more than the gown does.
The book was written around 1393, so I am assuming (perhaps erroneously)
that V-line overgown necklines were in, which could be a bit chilly in
winter. Too early for partlets?

Arlys

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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On Monday 10 November 2003 11:06 pm, Tasha McGann wrote:
> Cathy wrote:
> > There are short stories?
>
> Yes! She's got a collection of stories called _Black
> Projects, White Knights: The Company Dossiers_,
> published by Golden Gryphon. It's available on Amazon,
> but only in hardback for about $18 (US):
>
> http://makeashorterlink.com/?M2C856086

Thanks!  It's going on my Christmas list anyway.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Jennifer Fleury <jenniferfleury@sbcglobal.net>
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>Hey, why worry?  We saw the trailer for Timeline when we went to The 
>Matrix: Revolution.  Switch off brain and critical faculties, watch 
>Keanu.  If scriptwriters worried about logical inconsistencies, there'd 
>be no films!  I'm seriously considering getting a bunch of re-enactor 
>friends together for a Tuesday afternoon showing of Timeline and just 
>ripping it to bits!

>Jean

As a film maker myself (I do props for TV and films), the horrible thing is that the scriptwriters often DO worry about logical inconsistencies.  After what seems like thousands of meetings to decide where we can and can't "cheat", they typically write toward the accurate and then in shooting, it all sort of crashes and burns.  Between directors, producers, actors and every soul investing 100 bucks or more it usually gets ripped apart during filming.  And the #1 excuse?  "If they're watching for that, they're missing the point" (!!!!!!!!!!!)  Those of us who care about these things are definitely in the minority.  If not the sub-minority.  Usually when the "higher ups" are making the decision to throw logic (and/or history) to the wind and receive objections from one of the departments trying to make it realistic, they say, "okay, so there's gonna be 10 people who are into kwakiutl indian war canoes who will be offended.  so what?"  And speaking for the majority of the peopl!
 e who
 have to make it happen, it's heartbreaking.  Our response tends to be "If only 10 people know, why not do it RIGHT?  The ignorant people won't know the difference and those who do will be impressed"   All I can say is speak up!  E-mail the productions via their websites.  Shows DO seem to listen when the feedback gets truly ugly.  
I'm currently working on a mid-season replacement TV series which involves a Los Angeles  law firm in the year 2054-we're inventing the future.  It is a period, even if it's not one we can research.  And some of the ideas are fantastic, some are truly terrifying.  But I know they're concerned about how the audience will receive the decisions.  (One advantage of TV over film-feedback can be worked in!)  So don't just resign yourself to ripping things apart, be heard.  Even if the movie is already made, the next production to attempt something similiar will have followed how it was received and may (slightly) adjust their production values because of it!  Which is not to say that horrible movies will not continue to be made!!!  Anything for the almighty dollar!


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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Subject: Re: [h-cost] report: dyeing linen
Date: Wed, 12 Nov 2003 00:49:31 +1300
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> I love the olive/ moss/ goose turd colors, too. Unfortunately I already
> have two skirts, a bodice, and italian gown in those colors, plus two
> bolts of linen that came that color.... so I'm thinking this stuff is
> going to end up some shade of brown unless I can document teal or
> peacock blue.  :)

I missed the era, but teal comes up in a lot of German Renaissance
paintings, and there is a painting by Raphael with some men in teal.

Also there is a tapestry I found a book of that uses a  lot of shades of
blue, or which teal is one. That one is late 15thC probably France though
the tapestry is in England now I believe. I do have some photos of this if
you really need it, as for teal in paintings, Cranach's Fountain of Youth is
one good example. Women in the background wear it.

So it all depends on your time/place/fabric.

Linen was used as an outer layer in middle class german of the 16thC;)

michaela
http://costumes.glittersweet.com


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> 
> Linen was used as an outer layer in middle class german of the 16thC;)
> 
> michaela
> http://costumes.glittersweet.com
> 
Ooooooooh - where did you find this out?

**********************
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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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Sorta OT: Kage Baker's time travel fiction
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Drea wrote:
> Most of the ones I've seen were in Asimov magazine.  /Very/
> interesting...and very funny, some of them!  I hope she puts some together
> in an anthology, soon.

She has: "Black Projects, White Knights: The Company Dossiers"
(http://www.amazon.com/exec/obidos/tg/detail/-/1930846118)

K.
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From: Drea Leed <drea@nospam>
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Subject: Re: [h-cost] Sorta OT: Kage Baker's time travel fiction
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Squee! Thanks!

Drea


On Tue, 11 Nov 2003, Kirrily Robert wrote:

> Drea wrote:
> > Most of the ones I've seen were in Asimov magazine.  /Very/
> > interesting...and very funny, some of them!  I hope she puts some together
> > in an anthology, soon.
>
> She has: "Black Projects, White Knights: The Company Dossiers"
> (http://www.amazon.com/exec/obidos/tg/detail/-/1930846118)
>
> K.
> _______________________________________________
> h-costume mailing list
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Subject: [h-cost] Movies (was time travel)
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So what did everyone think of Musketeer? That's the one with all the kung fu
wire work in it. Oddly enough the thing I had the biggest problem with in
that movie was the scene where the Musketeers are charging -on foot and on
horseback- a fully fortified castle that has cannons.

Hmm, good idea? ;-)

Sheridan



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Sorta OT: Kage Baker's time travel fiction
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Kage Baker's latest book is a  superb non-Company fantasy novel titled 
_The Anvil of the World_.

Other relatively recent fantasies with historic appeal (at least to me) 
are Jeff VanderMeer's _City of Saints and Madmen_, K. J. Bishop's _The 
Etched City_, China Mieville's _Perdito Street Station_ and _The Scar_, 
and, for those who like adventure, Greg Kurzawa's _Gideon's Wall_.

Fran

Kirrily Robert wrote:

>Drea wrote:
>  
>
>>Most of the ones I've seen were in Asimov magazine.  /Very/
>>interesting...and very funny, some of them!  I hope she puts some together
>>in an anthology, soon.
>>    
>>

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


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From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Shoes
Date: Tue, 11 Nov 2003 12:32:29 -0500
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Thanks for the clarification! Thats what we suspected, but I thought I
should ask and find out for sure.

Sheridan

----- Original Message -----
From: "Marc Carlson Subject: [h-cost] Re: Shoes


> From: "Sheridan & Shane"
> >You mentioned in another post that the plaster last made from an old shoe
> >was problematic, what specifically was/is the problem? My husband was
> >actually just about to use his last pair of sneakers to make a couple of
> >lasts per your article, any pointers or tips before we proceed to make a
> >plastery mess of my kitchen? :-) I do actually own a couple of wooden
lasts
> >(an inheritance) but they are in storage somewhere on the other end of
the
> >country.
>
> Ok, the -major- trauma was that when I did this, I used an old pair of
army
> dress shoes I had on hand.  I secured them fairly tightly but ultimately
> when I poured the plaster the fact that I was creating an image of the
> inside of a shoe wound up working against me -- the sides and sole bulged
> unevenly (for the pressure reasons that Lisa mentions), and I wound up
with
> some unexpected ridges from the "tabs" (where the shoelaces go) along the
> instep.  Look carefully and I do really say that I don't think people
should
> waste much time with this technique :)
>
> Marc
>
> _________________________________________________________________
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From: kat@grendal.rain.com
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Date: Tue, 11 Nov 2003 09:45:18 -0800
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Subject: Re: [h-cost] report: dyeing linen
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> Well, I finally got enough time to play with that bolt of cotton-linen
> I picked up the week before Halloween.
> 
> It's a light, bright green, the color of pistachio ice cream. I
> decided to try for something else. I started by running it through the
> washer twice on hot as suggested, then giving it a bath in RIT color
> remover for 40 minutes.
> 
> I was shocked when the bath turned it bright purple, but as the water
> cooled it subdued to a hot pink color.
> 
> When I rinsed the fabric it reverted back to its pistachio green
> color.

It sounds like a chemical reaction. It actually sounds like the 
nickel trisethylenedialene chloride I made in chemistry class. It 
started out green when it was the trans form, but turned purple when 
in the tris form. I still have some of the purple powder in a scrap 
book (sealed in glass). But I didn't do anything to change it back.

I've had that same thing happen with color removers before. I had 
some lime green trim which turned the most gorgeous color of teal in 
the Rit dye remover. I was so disappointed when it turned back to the 
lime green when I rinsed it.

It sounds like you may have actually gotten something with a 
synthetic. If it were 100% linen, you'd at least get a lighter color 
of green when it came out. But the synthetics have the dye more 
internal to the fibre so they don't give it up the way linen should. 
If it came out the *same* green, it might be a synthetic blend.

If so, it may not dye either. The synthetic fibres don't take up dye 
the way the linen would.

Keep us informed, though.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Movies (was time travel)
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Sheridan & Shane wrote:

> So what did everyone think of Musketeer? That's the one with all the kung fu
> wire work in it. Oddly enough the thing I had the biggest problem with in
> that movie was the scene where the Musketeers are charging -on foot and on
> horseback- a fully fortified castle that has cannons.
> 

Somehow I missed that one, but from what I can see in the stills the 
costumes look like ren-fest garb. It's sort of close, but they miss on a 
lot of the details.

Hmmn. I'll have to put this on my list of movies to rent the next time I 
spend a weekend at my friend's house sewing. The kung fu action sounds 
like it'd be fun.



Dawn




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Subject: RE: [h-cost] Movies (was time travel)
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Sheridan asked:
<<So what did everyone think of Musketeer? That's the one with all the
kung fu wire work in it. Oddly enough the thing I had the biggest
problem with in
that movie was the scene where the Musketeers are charging -on foot and
on
horseback- a fully fortified castle that has cannons.>>

Hated it so much I turned it off after the first fight scene.  I simply
can't suspend belief enough to watch 17th century Musketeers doing kung
fu.  It was like a bad joke.

Kass

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This subject comes up (again!), just after I went to see "Matrix
Revolutions". Two of the trailers before the movie were for "The Alamo" and
"The Last Samurai".

It's getting to a point that whenever I see an ad for a "costume drama" I
experience simultaneous thrill and dread - thrill because I love history,
dread because I'm wondering just how they're going to butcher it THIS time!
I still might give The Alamo a chance, but I think Samurai may have to wait
for video.

I'm on the lookout for "Girl With A Pearl Earring", but am not seeing
anything for it yet.

Allison

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Jennifer: Thanks for that interesting reply about the movie business. I
never bother to write to the movie people, but it sounds as if that would be
a good idea after all. What do you think is the best place to write -- the
studio itself?

Speaking of changes, has anyone seen the previews for "The Cat in the Hat"?
Dr. Suess must be rolling in his grave! I never saw the Jim Carrey Grinch
movie, what I heard was bad enough. Who wants to know what childhood trauma
made the Grinch mean? But The Cat in the Hat seems to be full of sexual
innuendo, and based on the book of the film I peered at in a store the other
day, there seems to be a sub-plot about a bad man scheming to marry the
children's mother, and the Cat saving them from that terrible fate. Geez,
what are writers (or maybe producers) thinking? You take a book about kids
being a little bad when their parents aren't around, and turn it into a
movie about an evil predator and fill it with sex jokes. Sounds like a good
idea to me!

I hope people stay away in droves, but I doubt it. Obligatory costume
content: Michael Myers looks creepy as the Cat, the kids have wacky
Suess-inspired clothes, and the mother looks like a cartoon sexpot that has
very little to do with Dr. Suess's style. Sigh.

Gail Finke



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kat@grendal.rain.com wrote:

> 
> I've had that same thing happen with color removers before. 

Well, it's good to know my situation wasn't a freak case.


> 
> It sounds like you may have actually gotten something with a 
> synthetic. 


I did a burn test. The warp threads burned slow and left a feathery grey 
ash. The weft burned slow and left a feathery white ash. Smelled like 
leaves. It's got some combination of cotton and linen in it, I can 
*feel* the linen.

I'm going to try overdyeing it with orange today. I'm hoping for a nice 
medium brown.



Dawn



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Didn't see it.
--sue

Sheridan & Shane wrote:
> 
> So what did everyone think of Musketeer? That's the one with all the kung fu
> wire work in it. Oddly enough the thing I had the biggest problem with in
> that movie was the scene where the Musketeers are charging -on foot and on
> horseback- a fully fortified castle that has cannons.
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Subject: RE: [h-cost] Re: movies
Date: Tue, 11 Nov 2003 13:51:41 -0500
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I keep seeing previews for it and screaming, "That's not Dr. Suess!"  I
didn't know anything about the plot, but there is just something that's
making me revolt.

I hope it flops too.

Kass

-----Original Message-----
From: Gail & Scott Finke [mailto:gailscott@eos.net] 
Sent: 11 November 2003 1:28 PM
To: h-costume@indra.com
Subject: [h-cost] Re: movies

I hope people stay away in droves, but I doubt it. Obligatory costume
content: Michael Myers looks creepy as the Cat, the kids have wacky
Suess-inspired clothes, and the mother looks like a cartoon sexpot that
has
very little to do with Dr. Suess's style. Sigh.

Gail Finke


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>
> It's getting to a point that whenever I see an ad for a "costume drama" I
> experience simultaneous thrill and dread - thrill because I love history,
> dread because I'm wondering just how they're going to butcher it THIS time!
> I still might give The Alamo a chance, but I think Samurai may have to wait
> for video.

I think I'm going to go see the Alamo, if only for Billy Bob. I always
loved Davy Crockett as a kid. And I am looking forward to Last Samurai,
but not for the costumes...more for the potentially keen swordfighting and
battle scenes.  and Kodo drums.


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I'm in the same boat as you, Allison.  If they ever made a good
pre-Victorian movie, I'd probably have to see it on video because I've
been disappointed so many times that no one could possibly drag me to
the theatre.

I'm dreading "Girl with a Pearl Earring" for two reasons:  #1, I really
liked the book and I don't want them to mess with it; and #2, I do 17th
century reenactment and I don't want to see them mess with that.  I love
just about any movie Colin Firth is in, but I wonder if they can resist
turning him into the love interest?  I don't want them to take the movie
farther than the book went just to see Mr. Firth's bottom naked, you
know?

Sometimes I think I love late 19th century costume dramas *precisely*
because I don't reenact that period.  I don't know what's wrong so I
don't mind, I guess.  Although when they change the plot of a Edith
Wharton or Henry James novel, I get upset about that too.

Kass

-----Original Message-----
From: A.Thurman [mailto:athurman@cybergal.com] 
Sent: 11 November 2003 1:11 PM
To: Historic Costume List (E-mail)
Subject: [h-cost] More Costumes in Movies

This subject comes up (again!), just after I went to see "Matrix
Revolutions". Two of the trailers before the movie were for "The Alamo"
and
"The Last Samurai".

It's getting to a point that whenever I see an ad for a "costume drama"
I
experience simultaneous thrill and dread - thrill because I love
history,
dread because I'm wondering just how they're going to butcher it THIS
time!
I still might give The Alamo a chance, but I think Samurai may have to
wait
for video.

I'm on the lookout for "Girl With A Pearl Earring", but am not seeing
anything for it yet.

Allison

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Bingo!
That's probably why I enjoyed Patriot (well, that and Mel).  I know so
little about the clothing/military styles/etc. from that time, that my
eye never caught any of the niggly bits like the wrong color boots on
the soldiers and such.
--sue

Kass wrote:
> 
> Sometimes I think I love late 19th century costume dramas *precisely*
> because I don't reenact that period.  I don't know what's wrong so I
> don't mind, I guess.
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Subject: Re: [h-cost] Movies (was time travel)
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> Sheridan asked:
> <<So what did everyone think of Musketeer? That's the one with all the
> kung fu wire work in it. Oddly enough the thing I had the biggest
> problem with in
> that movie was the scene where the Musketeers are charging -on foot and
> on
> horseback- a fully fortified castle that has cannons.>>
>
> Hated it so much I turned it off after the first fight scene.  I simply
> can't suspend belief enough to watch 17th century Musketeers doing kung
> fu.  It was like a bad joke.

I think it was supposed to be a joke. I liked it, just because it was fun.
It made no attempt at historical authenticity, and didn't care about being
realistic. It was just fun. Not on my top list, but I didn't mind having
paid the money to see it.
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] More Costumes in Movies
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   I'm going to see the Alamo in spite of all the
historical inaccuracies I already know about.And I
haven't heard how bad the costumes were. I REALLY 
want to see how badly the director butchered William
Barrett Travis.

> 
> I think I'm going to go see the Alamo, if only for
> Billy Bob. I always
> loved Davy Crockett as a kid. And I am looking
> forward to Last Samurai,
> but not for the costumes...more for the potentially
> keen swordfighting and
> battle scenes.  and Kodo drums.
> 
> 
> _______________________________________________
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> http://mail.indra.com/mailman/listinfo/h-costume 

=====
Aurum peccamenes multifariam texit

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Subject: Re: [h-cost] Re: movies
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In a message dated 11/11/2003 1:27:57 PM Eastern Standard Time, 
gailscott@eos.net writes:

> What do you think is the best place to write -- the
> studio itself?
> 

Nah.....the producers.

While your at it.....write those idiots who did a sequel to "Gone With the 
Wind". [but wouldn't let that black writer write a book based on it]
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Subject: Re: [h-cost] 	Time travel as research tool of
	thefuture...(wasRE:Psychic	Archeology)
Date: Tue, 11 Nov 2003 18:48:54 -0600
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Has anyone read "Household Gods" , "Small Gods", 20th century woman bounced
back to 2nd century Roman city.  They get around the language thing by
planting her in an ancestor's body.  She discovers there are things she
can't say in Latin because the words haven't been "invented" yet.

----- Original Message ----- 
From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Monday, November 10, 2003 5:18 PM
Subject: RE: [h-cost] Time travel as research tool of
thefuture...(wasRE:Psychic Archeology)


>
>
>  Have a go at Connie Willis' "The Domesday Book"  Without giving too much
> away, the time traveller in this book has trouble at first with her
> implanted translator, due to the fact that it was based on the speech of
the
> upper classes(and her own knowledge based on the writings of Chaucer and
> others) and despite the fact that she carded, wove and dyed her clothing,
it
> was still too fine for most classes of folk.
>
> Better than 99% of the so-called time-travel books out there where most of
> time time-travelers and "natives" can understand each other perfectly,
> despite a 400 or more year language gap.
>
> Cindy Abel
>
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In a message dated 11/11/2003 1:59:00 PM Eastern Standard Time, 
historian@reconstructinghistory.com writes:

> If they ever made a good
> pre-Victorian movie, I'd probably have to see it on video because I've
> been disappointed so many times that no one could possibly drag me to
> the theatre.
> 

Calm down now. There are many good ones."History of the World", "Young 
Catherine", "Queen Margo", "Camelot", the latest "3 Musketeers"....oh wait....ooops 
wrong list!

Seriously there's "Barry Lyndon", "Cyrano de Bergerac [that one in French], 
the '70s "3 Musketeers", "The Madness of King George", "Dangerous Liaisons", 
"Sense and Sensibility", 'Persuasion"....
and lots of not so great movies with great costumes: "Restoration", "The Man 
in the Iron Mask".....

So c'mon, it's worth the risk to go see things....especially if you can check 
out the official web site first. 
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] More Costumes in Movies
To: Historical Costume <h-costume@indra.com>
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Personally I'm looking forward to seeing the new Russell Crowe movie - Master and Commander. It's
set during the Napoleonic era, and from what I've seen, there's not a gown in sight. But if you
like naval stories, naval battles and naval uniforms... ;-)

<http://www.masterandcommanderthefarsideoftheworld.com/>




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*The Realm of Venus: Ladies Clothing in 16th Century Venice 
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Movies (was time travel)
Date: Tue, 11 Nov 2003 21:10:28 -0500
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On Tuesday 11 November 2003 12:53 pm, Dawn wrote:
> Sheridan & Shane wrote:
> > So what did everyone think of Musketeer? That's the one with all the kung
> > fu wire work in it. Oddly enough the thing I had the biggest problem with
> > in that movie was the scene where the Musketeers are charging -on foot
> > and on horseback- a fully fortified castle that has cannons.
>
> Somehow I missed that one, but from what I can see in the stills the
> costumes look like ren-fest garb. It's sort of close, but they miss on a
> lot of the details.

That's my recollection too.  That, and the fact that the costuming department 
obviously subscribes to the "the common people wore drab colored, shabby 
clothing" myth.

>
> Hmmn. I'll have to put this on my list of movies to rent the next time I
> spend a weekend at my friend's house sewing. The kung fu action sounds
> like it'd be fun.

As an action movie, it was fun; at rental prices you certainly won't be 
wasting your money.  As a costume drama, though, it was highly disappointing.  
(So it was a good thing I didn't go to see it with high expectations for the 
costumes).  :-)

-- 
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>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: movies
Date: Tue, 11 Nov 2003 21:12:12 -0500
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On Tuesday 11 November 2003 01:28 pm, Gail & Scott Finke wrote:
[snip]

> I hope people stay away in droves, but I doubt it. 

Ditto, and ditto again.

>Obligatory costume
> content: Michael Myers looks creepy as the Cat, the kids have wacky
> Suess-inspired clothes, and the mother looks like a cartoon sexpot that has
> very little to do with Dr. Suess's style. Sigh.

Speaking strictly for me, I think it's a bad idea to make a live-action film 
out of *most* cartoons, and Dr. Seuss, in my opinion, is particularly 
ill-served by the "live action" approach.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From h-costume-bounces@indra.com  Tue Nov 11 21:14:49 2003
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	Wed, 12 Nov 2003 13:14:03 EST
Date: Wed, 12 Nov 2003 13:14:03 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
To: Costuming <Costuming@yahoogroups.com>, courtesan@yahoogroups.com,
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Subject: [h-cost] 
	Venetian costumes for hire near San Bruno California?? (slightly OT)
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Hi all,

I've had one of those unusual questions we web people sometimes get. A lady would like a costume
for her son't annual dinner dance with the theme of "Carnivale - A Night In Venice", to rent or
buy. Since I don't live anywhere near California, this is a little tough for me to answer. If
anyone has anything at all that might help this lady out, please send to me at
bella_lucia_da_verona (at) yahoo.com.au


Thank you,




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*The Realm of Venus: Ladies Clothing in 16th Century Venice 
http://realmofvenus.renaissancewoman.net 
*Courtesan Mailing List 
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*****************************************

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Subject: Re: [h-cost] More Costumes in Movies
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On Tuesday 11 November 2003 08:54 pm, Bella wrote:
> Personally I'm looking forward to seeing the new Russell Crowe movie -
> Master and Commander. It's set during the Napoleonic era, and from what
> I've seen, there's not a gown in sight. But if you like naval stories,
> naval battles and naval uniforms... ;-)
>
> <http://www.masterandcommanderthefarsideoftheworld.com/>

Having read "Master and Commander," I'll say don't expect any gowns, because I 
believe all the scenes are set on or near the ship itself.  There are some 
female characters in O'Brien's other books, but I don't think there were in 
this one.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Tuesday 11 November 2003 07:48 pm, Genie wrote:
> Has anyone read "Household Gods" , "Small Gods", 20th century woman bounced
> back to 2nd century Roman city.  They get around the language thing by
> planting her in an ancestor's body.  She discovers there are things she
> can't say in Latin because the words haven't been "invented" yet.

I read it, but only because it was a birthday present from an old friend.  I 
usually hate books where a modern day person is plunked down into the past 
for no good reason.  Particularly when the modern day person is a 
self-centered whiner (as is the case with the protagonist in "Household 
Gods").

Obligatory costume content:  I'm no specialist in Roman costume, but it seemed 
to me that Turtledove et al did a creditable job with the costume and makeup 
details in "Household Gods", given that they had to extrapolate downward to 
what a lower-middle class woman would have had available to her.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Glenda Robinson" <glendar@compassnet.com.au>
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Subject: Re: [h-cost] Movies (was time travel)
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 Sheridan asked:
 <<So what did everyone think of Musketeer? That's the one with all the
 kung fu wire work in it.

Is that the one without actual muskets? A musketeer friend of mine went to
see a movie called Musketeer, and found that he could count the number of
muskets he saw in the movie on one finger! Plenty of swords and pistols
though. He was unimpressed, to say the least. I'm yet to see it.

Glenda.

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] More Costumes in Movies
Date: Tue, 11 Nov 2003 21:25:33 -0500
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On Tuesday 11 November 2003 01:11 pm, A.Thurman wrote:
> This subject comes up (again!), just after I went to see "Matrix
> Revolutions". Two of the trailers before the movie were for "The Alamo" and
> "The Last Samurai".
>
> It's getting to a point that whenever I see an ad for a "costume drama" I
> experience simultaneous thrill and dread - thrill because I love history,
> dread because I'm wondering just how they're going to butcher it THIS time!

When I see ads for costume dramas, I figure that it will be a win whether the 
costumes are good or not.

If the costumes are good, I figure that I will get to enjoy a drool-worthy 
spectacle.

If, on the other hand, the costumes are dreadful, I figure I can have lots of 
fun critiquing them to my costume-literate friends afterward.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Christopher Ballis" <stilskin@netspace.net.au>
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Subject: [h-cost] Time travel and musketeers
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I remember a group of us sitting around in Victorian outfits (don't ask)
discussing movies when one of our number brought up The Three Musketeers. We
all smiled with good thoughts of Oliver Reed, Charlton Heston et al in those
richly made and decorated robes, tunics, caps and gowns.

"Hmm," the young lady continued, "and I thought Keifer Sutherland looked
great in his - "

Sometimes you just gotta bite your lip.

On the subject of time travellers, what should one wear for one's trip back?
When you turn up in Henry's court in your silver radiation suit, it is gonna
be obvious that you are not a local.

They will also notice something amiss if, like Michael J Fox, you arrive
wearing a 'life jacket'.

You could go the method used by both Christopher Reeve and by Time Trax and
raid some second-hand store or a museum and I guess we are lucky that the
Time Trax hero was exactly the same size as Stormin' Norman.

Then there was The Time Tunnel - nah, don't even get me started on Irwin
Allen and those magically disappearing and re-appearing suits.

Kirk & Co's futuristic wear seen against 1980s San Francisco proved, as much
as anything, that good designers use current trends to tell a story to
present day audiences.

William Devan's white hat and white duster coat looked good in shape for a
trip to the wild west but the choice of colour!

For my money, the best generic costume for a time traveller was in the
George Pal/Rod Taylor) version of The Time Machine. That smoking jacket and
trousers combination seemed to work anywhere.

I am guessing, if the laws of physics can be changed, there will be a niche
market for costumers who have experience in historical reproduction,

-C.

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Subject: Re: [h-cost] Movies (was time travel)
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>
>  Sheridan asked:
>  <<So what did everyone think of Musketeer? That's the one with all the
>  kung fu wire work in it.
>
> Is that the one without actual muskets? A musketeer friend of mine went to
> see a movie called Musketeer, and found that he could count the number of
> muskets he saw in the movie on one finger! Plenty of swords and pistols
> though. He was unimpressed, to say the least. I'm yet to see it.
>
> Glenda.


That sounds about right, I haven't seen it since it was released. I went
with a bunch of folks all dressed in full Cavalier and Musketeer garb, who
were over dressed in comparison to the movie. :-)  I like cheesy movies, and
Kung fu, so I really wasn't expecting much from the movie historically
speaking. I did find the big 'ladder battle' rather jarring though...

Sheridan



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From: "Christopher Ballis" <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Time travel oops
Date: Wed, 12 Nov 2003 13:41:52 +1100
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"Huh?"
That is exactly what he said when he arrived at the time before his 7th
floor apartment was built,

-C.

To: Historical Costume
Subject: Re: [h-cost] Time travel oops


Huh?
--sue

> Then there was the comic book about the man who built a time machine in
his
> 7th floor apartment and went back in time - - -

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	thefuture...(wasRE:Psychic	Archeology)
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True, she was a whiner, but by the end she was almost a real "person".

 On Tuesday 11 November 2003 07:48 pm, Genie wrote:
> > Has anyone read "Household Gods" , "Small Gods", 20th century woman
bounced
> > back to 2nd century Roman city.  .
>
> I read it, but only because it was a birthday present from an old friend.
I
> usually hate books where a modern day person is plunked down into the past
> for no good reason.  Particularly when the modern day person is a
> self-centered whiner (as is the case with the protagonist in "Household
> Gods").
>
> -- 
> Cathy Raymond <cathy@thyrsus.com>
>
> "Anything's within walking distance if you have the time." -Steven Wright
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Oh.  Didn't get the reference, so I didn't get the joke!
--sue, a bit slow these days...

Christopher Ballis wrote:
> 
> "Huh?"
> That is exactly what he said when he arrived at the time before his 7th
> floor apartment was built,
> 
> -C.
> 
> To: Historical Costume
> Subject: Re: [h-cost] Time travel oops
> 
> Huh?
> --sue
> 
> > Then there was the comic book about the man who built a time machine in
> his
> > 7th floor apartment and went back in time - - -
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: Re: [h-cost] More Costumes in Movies
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The Patrick O'Brian discussion forum has been debating the forthcoming
film for months. Apparently the plot is a mixture of elements from
"Master and Commander" and "The Far Side of the World" - but no, I don't
think any of the major female characters appear.

Kate Bunting
Library, University of Derby

>>> cathy@thyrsus.com 11/12/03 02:19am >>>
On Tuesday 11 November 2003 08:54 pm, Bella wrote:
> Personally I'm looking forward to seeing the new Russell Crowe movie
-
> Master and Commander. It's set during the Napoleonic era, and from
what
> I've seen, there's not a gown in sight. But if you like naval
stories,
> naval battles and naval uniforms... ;-)
>
> <http://www.masterandcommanderthefarsideoftheworld.com/>

Having read "Master and Commander," I'll say don't expect any gowns,
because I 
believe all the scenes are set on or near the ship itself.  There are
some 
female characters in O'Brien's other books, but I don't think there
were in 
this one.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven
Wright
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Subject: [h-cost] Updates on the Gallery and other news
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I have most of our websites updated now.  Below are the updates and some
other good news:

www.costumeclassroom.com
Please take time to check out the 2004 class schedule.  We have divided some
classes up on a semester, year-round, and monthly basis.

Our Mothers-to-be Instructors:
Jennie's Chancey's is due to have another baby in May. #5... she is catching
up with me!Her Regency Gown AND 1914 Afternoon Dress classes are being held
during the 2003 autumn semester. The last day to enroll in these classes are
Nov. 26 and they have to be
completed by Dec. 31.  These classes will not be repeated until next June,
for the summer/autumn 2004 semester (June-Dec.), Jennie will be holding her
Tea Gown AND 1940s Swing Dress classes for the Winter/Spring semester,
classes ending on May 31.  The only live monthly class she will teach is her
Regency Film class in July.

At the end of this week, when the Cowgirls and Shady Ladies class ends,
Marna Jean Davis is officially on maternity leave.  She is due to have her
baby in December.  She will return sometime in January to teach her Parasols
class.  BTW, there is only one open slot for this session, but the March
session has plenty of openings.  This class booked up so quickly, if you
want the March session, be advised to sign up early.  Also Marna Jean is our
shining star!!!!!  In December, the film, Cold Mountain, comes out in
theaters.  Marna Jean made the parasols for the film... so watch out for
them.  There is a link to the parasols images on her class description
webpage.

Juanita Leisch is returning to teach her much loved Civil War Ladies Fashion
class
in January.  Some of you may remember that Juanita took a break after
getting married and moving to NYC.  She is very excited to be returning.

Holiday Gift Giving:
Last year lots of people gave the gift of education from The Costume
Gallery... friends and family gave their family members a gift of a class
from our Classrooms.  You might like to give a class to someone, or you
might want hint to someone that you would like to take a class for a gift.
All that is needed to fill the gift area out on the registration form. This
year, you might also want to give the gift of a subscription to the Library
to a friend or family member.  If you want to give a library subscription,
please write to me personally at penny@costumegallery.com and we will work
out how to proceed.  If you want to give a subscription as a gift,
please do NOT go through the www.costumegallery.com/librarycard.htm webpage.
You may tell the person you are giving them a class or subscription OR I can
call the receiver on Christmas Eve or Day.  I have surprised people in the
past this way.  It is a lot of fun to surprise people!  You just need to let
me know if you want me to surprise the person.

We will also be opening up the first week of December a Costume Gallery
Store with our very own products.  There you will be able to purchase
shirts, coffee mugs, mouse pads, greeting cards, etc. featuring our Library
images.  We will also have a 2004 calendar featuring the color fashion
plates from my 1902 Delineator Magazines.  So
please watch for the announcements on the website.

www.costumegallery.com  Updates:
I have updated the front page of the Gallery, www.costumegallery.com .  You
can now access all the Year in Fashions indexes (29 specific years between
1804-1923) and Class Descriptions from the front page.

On the front of the Gallery, you may notice that I updated the site
statistics for the first time in a year.  Since Jan. 1998, our visitors to
our websites, costumegallery.com, costumeclassroom.com and
onlinecostumeball.com have reached over 23 million... yes, that is
23,000,000 visitors...mind-blowing.  Our website's host provided an accurate
account all of files on the sites...  we have just over 6,000 webpages and
over 25,000
images. We have come a long way baby!!!!!!!

Some good news on the homefront... most of you know, I work out of my home.
Six years ago, I moved into my 8'X10' office, which was plenty of room at
the time.  As my costume book and magazine collections grew, my office got
smaller. I have a little path to get to the TV and my computer. Our third
son is moving out this weekend, and we are all switching rooms in the house.
I am moving in the 16'X16' room with wall-to-wall built-in bookshelves!!!!!
YIPPEE!!!!!  My books will finally get out of stacks and will be on shelves.
Six
years ago, when I officially became a business, I started a postcard quilt
on
the walls of my office.  People from around the world (that I met on the
internet) sent me postcards of costume collections that they have visited or
wanted to visit.  Several h-costumers have sent me postcards for my quilt.
Today, I took the postcards down to move to my new office... 167 postcards
and several costume posters!  What a joy it was to read all the messages on
the backs of the cards again.  Some of the old-timers on the list would love
to see the cards.  Not only do I have more room in my new office for books
but also for my postcard quilt.  I might even have room for my sewing
machine!  I am so excited!!!!!

Because of the move, I will not be online Saturday and Sunday.  We have to
tear down the hub and computer to move it.  Please cross your fingers that
we don't lose parts of it!  We are moving four rooms around.

I dreamed for years when the upper half of my kids were grown and moved out!
The time has finally come... even though they moved just a couple of miles
away for our house.  So I see them every couple of days.

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


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> What do you think is the best place to write -- the
> studio itself?
> 

Start with any email info from the official websites as those will be the most checked, but emails to the studios and production companies are more direct, if harder to find addresses for.


>That's my recollection too. That, and the fact that the costuming department 
>obviously subscribes to the "the common people wore drab colored, shabby 
>clothing" myth.

 
An important thing to remember about movies is that the commoners and other background actors usually must be dressed drably for a number of reasons.  First, so they don't take focus off the main actors.  Second, so they don't clash with their surrounding set or location.  Third, the only cost effective way to outfit multitudes of people in costume dramas is by renting their costumes as opposed to making them, and renting usually means going for something generic.  Fourth, you're getting these costumes for people you won't meet until the morning you hand them the stuff, and drab works well on most everyone.  Fifth, drab is easy to light effectively-even a pale blue shirt can look horribly burned out with only minimal lighting.  And Sixth, in any scene with lots of extras they tend to "recycle" them.  In other words, the same person probably walks through the frame twice, sometimes even three times to make it look like there are more people than they really have-very difficul!
 t if
 they're wearing anything recognizable, and drab is a lot less noticeable!  True, it sucks for those of us who care, but on the other hand, period films are very expensive to make and generally don't bring in the box office other genres do, so the part about saving money means we get to have some period movies, even if they aren't accurate.  Personally, I get inspired and excited whenever there's any period movie, even if it does end up sucking in accuracy-with one exception-"Elizabeth" which I think was absolutely wretched and a total waste of perfectly good film.



Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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Subject: Re: [h-cost] Time travel and musketeers
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----- Original Message ----- 
From: "Christopher Ballis" <stilskin@netspace.net.au>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 11, 2003 9:33 PM
Subject: [h-cost] Time travel and musketeers


> I remember a group of us sitting around in Victorian outfits (don't ask)
> discussing movies when one of our number brought up The Three Musketeers.
We
> all smiled with good thoughts of Oliver Reed, Charlton Heston et al in
those
> richly made and decorated robes, tunics, caps and gowns.

I really need to get that one. My only real mental picture of Oliver Reed is
as Bill Sykes---as I was only five years old when we saw Oliver! in the
theater, he scared the bejeebies out of me!
Actually, I own the movie on video now, and Bill Sykes still scares the s***
out of me.

Dianne

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Subject: Re: [h-cost] Sorta OT: Kage Baker's time travel fiction
Date: Wed, 12 Nov 2003 08:30:06 -0500
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And how about the Borshadt (Spelling?) series that contains the 'Wolf"
memories. The Guenivere series is quite provoking! But she also 'does Rome,
Gaul and etc.
Kathleen
----- Original Message ----- 
From: "A.Thurman" <athurman@cybergal.com>
To: "Historic Costume List (E-mail)" <h-costume@indra.com>
Sent: Monday, November 10, 2003 11:20 PM
Subject: [h-cost] Sorta OT: Kage Baker's time travel fiction


> Funny that this author comes up - I just discovered Baker from Drea, who
> recommended "Garden of Iden" to me. I really enjoyed it and the sequel
"Sky
> Coyote" is on my never-ending book pile.
>
> I didn't know there were Company short stories either - where could I find
> these?
>
> Allison T.
>
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Wed Nov 12 09:53:41 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: [h-cost] I need help!!!!
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I am in great need of help! I agreed to put together a "garb game" for our
SCA Barony's upcoming event. We have many quizzes and games where people can
earn points towards other stuff. The game is then going to go into our "demo
stuff". Anyway, here is the gist of it.... laminated period images that
people have to put in chronological order. The front is just the image and
the back has the date and where the image came from. I am doing 1000-1600
with one male and one female image from the first half of each century and
one male and female image from the second half of each century. That way it
can be played as one game or split into just male garb and just female garb.

Here is my problem. I am great with late period..... however, I am terrible
at early period. As I need images, I have been looking on the web with not
much success. In a pinch, I could scan a page from Norris or something, but
I have been trying to avoid re-draws altogether... especially bad ones. I do
not have any images for the 11th, 12th and 13th centuries. If anyone out
there knows of pages where I can find images, please let me know! Or if you
have images, please email them to me at bkessinger@ureach.com.

Thank you so much for saving my ....... um.... face!

Teena

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Subject: [h-cost] Re: More Costumes in Movies
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From: AlbertCat@aol.com 
and lots of not so great movies with great costumes: "Restoration",
"The Man 
in the Iron Mask".....
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Do you mean the most recent 'Man' with Leo?  I know they butchered the
book but for some reason I really ended up likeing this movie (and I'm a
bit of a Dumas purist), I think it is because the whole bit at the end
seemed to capture the heart of a swashbuckler.

Costume wise I found the lack of period wigs on the principals,
especially Leo, very jarring, especially since they had them on other
members of the court.  Loved the Masquerade scene, I can spend hours
with the pause button on that one alone :).

Catherine

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From: "Talia" <khanson@kc.rr.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] I need help!!!!
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Find people in your barony that have the appropriate clothing, and get them
to pose for pictures?

Talia

> I do
> not have any images for the 11th, 12th and 13th centuries. If anyone out
> there knows of pages where I can find images, please let me know!
> Or if you
> have images, please email them to me at bkessinger@ureach.com.
>
> Thank you so much for saving my ....... um.... face!
>
> Teena

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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: [h-cost] caul image
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I hope the discussion about the half globe cauls was on this list and not
another! I just returned from vacation and many of the 2000+ emails were
deleted without being read so if this was already mentioned or if it was
from another list, please excuse!

Cynthia, did you see this image? I know it is only one view of it, but it
certainly looks like half globe cauls. I have no information about this
image at all other than it is Jeanne de Bourbon, 1390.
http://www.geocities.com/ariedin/Surc1.jpg

It came from Karen Larsdatter's site. This is the page the image links from:
http://www.geocities.com/karen_larsdatter/surcoats.htm

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Subject: Re: [h-cost] Re: More Costumes in Movies
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I admit this movie is a bit of a guilty secret for me. I really enjoyed it
and loved the costumes, but would never admit it in public. Well... now I
have. Do they have a 12 step program for this?
----- Original Message ----- 
From: "Catherine Kinsey" <ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Wednesday, November 12, 2003 9:56 AM
Subject: [h-cost] Re: More Costumes in Movies


> From: AlbertCat@aol.com
> and lots of not so great movies with great costumes: "Restoration",
> "The Man
> in the Iron Mask".....
> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> Do you mean the most recent 'Man' with Leo?  I know they butchered the
> book but for some reason I really ended up likeing this movie (and I'm a
> bit of a Dumas purist), I think it is because the whole bit at the end
> seemed to capture the heart of a swashbuckler.
>
> Costume wise I found the lack of period wigs on the principals,
> especially Leo, very jarring, especially since they had them on other
> members of the court.  Loved the Masquerade scene, I can spend hours
> with the pause button on that one alone :).
>
> Catherine
>
> _______________________________________________
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>

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From: Ron Carnegie <r.carnegie@verizon.net>
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Subject: Re: Re: [h-cost] More Costumes in Movies
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> 
> From: Bella <bella_lucia_da_verona@yahoo.com.au>
> Date: 2003/11/11 Tue PM 08:54:47 EST
> To: Historical Costume <h-costume@indra.com>
> Subject: Re: [h-cost] More Costumes in Movies
> 
> Personally I'm looking forward to seeing the new Russell Crowe movie - Master and Commander. It's
> set during the Napoleonic era, and from what I've seen, there's not a gown in sight. But if you
> like naval stories, naval battles and naval uniforms... ;-)
> 
> <http://www.masterandcommanderthefarsideoftheworld.com/>
> 
> 
> 
> 
> =====
> **************************************** 
> Lady Bella Lucia da Verona 
> 
> *The Realm of Venus: Ladies Clothing in 16th Century Venice 
> http://realmofvenus.renaissancewoman.net 
> *Courtesan Mailing List 
> http://groups.yahoo.com/group/Courtesan/ 
> *****************************************
> 
> http://personals.yahoo.com.au - Yahoo! Personals
> New people, new possibilities. FREE for a limited time.
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> 

   For what it is worth there is at least one gown.

Ron

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Sounds like fun! Here are a couple:

I've just begun collecting 10th and 11th here:
http://www.uvm.edu/~hag/rhuddlan/images/

And there are several sculptures mixed in with architectural details 
from 11th, 12th, 13th cent. here:
http://witcombe.sbc.edu/ARTHmedieval.html#Romanesque

For 12th and 13th try:
http://www.artcyclopedia.com/history/gothic.html

or go to the Web Gallery of Art, go to the search feature, and search by 
century:
http://www.kfki.hu/~arthp/index1.html


- Hope

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Hope Greenberg has a group of links to online art which you might find 
useful in getting the early images.  It's at:

http://www.uvm.edu/~hag/sca/

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

I have to say that the legend of Icarus has always grated on me since I 
first heard it as a boy. I probably asked my dad hundreds of questions 
like, "Wouldn't epoxy glue work better than beeswax? Why didn't they try 
that? Or maybe he could just spritz water on the wings to keep them 
cool? Can we go buy some feathers?"  -- Trevor Blackwell
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Teena Paradise wrote:
> I have no information about this
> image at all other than it is Jeanne de Bourbon, 1390.

Yep, got it, but thank you.  However, I figured it was 1400s sometime, 
based on the sideless style and the headdress.  It's possible that it 
was of her but made later, or I could be wrong (gasp!)

Even if I'm wrong, it's, alas, up to 60 years later than the target time.

I've rewriteen my web page about the "costume" solution for these 
things, but I still have to take a couple more photos to make it 
complete.  I'll post to this list when it's up.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

"Instead of starting by drawing a random sample and then testing for the 
occurrence of a rare event, we select rare events that happened and find 
ourselves marveling at their nonrandomness.  This is like the archer who 
first shoots an arrow and then draws the target circle around it."  -- 
Ruma Falk
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Subject: [h-cost] Costuming in movies rant
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From: Jennifer Fleury
>An important thing to remember about movies is that the commoners and other 
>background actors usually must be dressed drably for a number of reasons.  
>First, so they don't take focus off the main actors…

I actually do understand the whole rules for theatrical costuming thing – I 
–even- get the whole visual shorthand/let-the-clothes-say-
something-about-the-character-that-people-will-be-able-to-pick-up-
on-without-consciously-realizing-it thing.  My wife, who has studied 
theatrical costuming, has dragged me through it time and time again (usually 
after having pointed out who the villain is in a movie after the first five 
minutes by how they are dressed).  And of course there is the money thing.  
No problem.  I understand all these, and sympathize, and can generally just 
go along with whatever the costuming artists have decided to work with.

However, take a look at the costumes at 
http://www.thetimelinemovie.com/images.php Specifically the French archer.  
Ok, I don’t really care that the boots are wrong – they are unobtrusive (in 
fact far less obtrusively wrong than some of the other footwear in this 
movie – what can I say, it’s a thing…). What annoys me is the whole badly 
made leather jerkin with all that crap whip-stitching that looks like every 
bad fantasy movie/renfair/SCA outfit thing since the 70s.  Now, I –know- 
that it’s “visual shorthand” for “rustic” (i.e. earlier than us, more 
primitive, backwards, stupid), but it’s not only wrong, it’s insulting – and 
curiously misses the point of the much of the book – that people in the 
Middle Ages –weren’t- stupid.  OTOH, the fact that everyone is covered in 
dirt pretty well makes it clear to me that Donner didn’t even bother to READ 
the book – or at the very least he certainly didn’t _understand_ it.

At this point, I’m going to go to see a movie that is not based on an book 
with a relevant point to make – I’m going to go see a crap fantasy movie 
that shares a title and some incidental plot points with Crichton’s novel.  
I’m expecting not much better than Krull or Zardoz personally.

I’ve got friends who will bitch and moan that every detail in a movie wasn’t 
absolutely perfect – the buttons were wrong here, those boots were six 
months off from the date of the movie (what were they thinking) – or (my 
personal favorite) the language and dialect were wrong – as though a movie 
set in a historical dialect of a foreign language (I suppose with subtitles) 
is going to make it at the box office.  Personally, I’m not that fussy – 
generally speaking all I ask for is something that resembles a plot and 
characterization and I’m good to go (And meaning no disrespect to anyone 
here, but after many years of seeing what we get out of the entertainment 
industry, I really don’t have expectations that I’m going to get even that 
much.  When it happens, I’m delighted, but I’m rarely disappointed in my 
expectations when it doesn’t).

What I am objecting to here is really the unconscious condescension that is 
regularly shoved at us that the past was an ugly, dirty place where people 
didn’t even know how to keep reasonably clean, finish seams for leather 
garments, weave proper cloth, and so on.  If the film industry feels (as it 
appears to) that the shmoes in the seats aren’t going to plunk down their 
bux for clean peasants who look like they know what they are doing – and who 
knows, maybe they are right – possibly we should be trying to educate them 
better rather than just validating the public’s ignorance.

Marc

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From: Hope Greeenberg <hope.greenberg@uvm.edu>
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Marc Carlson wrote:
> What I am objecting to here is really the unconscious condescension that 
> is regularly shoved at us that the past was an ugly, dirty place where 
> people didn’t even know how to keep reasonably clean, finish seams for 
> leather garments, weave proper cloth, and so on.  If the film industry 

*sigh* Hear! Hear!
Then again, we are still under the spell of social Darwinism, so we must 
adhere to the basic tenet: our culture reflects our superiority. Those 
aspects of our culture that we prize: bodily cleanliness, synthetic 
textiles, etc. cannot be challenged by other times/cultures. Thus, 
portrayals of other cultures must include filth, rough textiles, and 
poor workmanship. (There is probably no small amount of western 
insecurity mixed in here as well...)

Look on the bright side: the clothing, while not a clue to the attitudes 
or capabilities of the period portrayed, can act as a great indicator to 
future historians (assuming they will be interested in such things--the 
study of history has many fashions as well). For example, check out the 
little sleeve bow in:
http://www.thetimelinemovie.com/gallery/friel_anna.jpg
Straight out of last year's catalogs!

- Hope

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Subject: [h-cost] Gift giving season Problem
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Greetings all.

I have a question thats a matter of tact (which isnt my strong suit). My
family all knows we do the reinactment gig and some are rather supportive.
The problem comes during the gift giving season when they attempt to give us
gifts they thing fit with the medival hobby. Last year our gifts were quit
pricy yet not useful at all. Is there a way yall would suggest saying, Where
I appreicate your wanting to give us gifts we can use. . . Museum Replicas
is not where to get these things? I dont want to be rude but I dont want
them wasting money on things we cant use.
Last year I got the side laced cotehartie from MR with the large collar and
cuffs. Its a cute dress but Im just never going to wear it and I know it was
expensive.

Thanks!!
Muirgheal
Molann an obair an fear.

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From h-costume-bounces@indra.com  Wed Nov 12 12:16:57 2003
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Here's where we are in the light of day: I've now got fabric that is a 
dark peach sort of color.

After trying the color stripper on it without noticeable results I put 
it into the washer with a box of tangerine dye according  to the 
directions. I set the washer for a 15 minute soak, set my kitchen timer 
for ten minutes so I could come back and reset the machine, and walked 
upstairs... only to hear the unmistakeable sound of the washer draining. 
Ack!  I ran back down the stairs in time to stop the drain and leave 
about 6 inches of dyebath in the machine. Then I got smart and just shut 
the darn thing off and left it for half an hour.

When it had soaked for 30 minutes I had a nice dark roasted pumpkin 
color. It went into the rinse cycle and when it came out I had a lighter 
shade, and by the time it dried I could call it dark peach. It's not as 
pink as peach, but it's not a screaming orange either. It's very close 
in color to some peach colored fabric I have left over from garb that 
was made in the mid or late eighties.

The pistachio green doesn't show through, except when I use the iron, 
then I get those footprints where I've applied heat, and it's slightly 
green until the fabric cools.

Overall I am pleased with the shade, I didn't expect I could get any 
warm tones out of this. Knowing that it works I am thinking of trying a 
more yellow-brown mustard kind of shade on the next piece.



Dawn



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From h-costume-bounces@indra.com  Wed Nov 12 12:19:53 2003
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Costuming in movies rant
Date: Wed, 12 Nov 2003 11:17:54 -0600
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As some on this list can doubtless personally attest, the translation from
costume designer's mind to the screen is an inexact one at best. Edward
Maeder's "Hollywood and History" is about the best book I've come across on
all the why's behind what you see onscreen is often very far from what was
really worn. If there is a better one, please let me know.

Very often, a designer will design historically accurate costumes and hair
and makeup artists will also want to be historically accurate.  But here are
all the caveats getting in the way from what would be historically accurate
to what goes up onscreen.

The current aesthetic to what is beautiful will influence to at least some
degree what the designer designs.

How much does designer and staff know about the time they are costuming?
What research materials and extant garments(if any)are available.

What photographs well and what doesn't, even if historically accurate

Budget!  Budget!  Budget

What can you can get to use onscreen(even if you have the budget to buy or
rent).

What the actors(especially the starring ones)are willing to wear in terms of
costume, makeup and wigs to be period-accurate? Or are they and their
press-machine too involved with keeping a certain image?

And what do the director and studio heads want to see onscreen? The majority
of people who go to the movies expect spectacle in "costume movies", not
accuracy. And what about film censors(Remember the Hays office)

Cindy Abel
-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Hope Greeenberg
Sent: Wednesday, November 12, 2003 10:47 AM
To: Historical Costume
Subject: Re: [h-cost] Costuming in movies rant




Marc Carlson wrote:
> What I am objecting to here is really the unconscious condescension that
> is regularly shoved at us that the past was an ugly, dirty place where
> people didn’t even know how to keep reasonably clean, finish seams for
> leather garments, weave proper cloth, and so on.  If the film industry

*sigh* Hear! Hear!
Then again, we are still under the spell of social Darwinism, so we must
adhere to the basic tenet: our culture reflects our superiority. Those
aspects of our culture that we prize: bodily cleanliness, synthetic
textiles, etc. cannot be challenged by other times/cultures. Thus,
portrayals of other cultures must include filth, rough textiles, and
poor workmanship. (There is probably no small amount of western
insecurity mixed in here as well...)

Look on the bright side: the clothing, while not a clue to the attitudes
or capabilities of the period portrayed, can act as a great indicator to
future historians (assuming they will be interested in such things--the
study of history has many fashions as well). For example, check out the
little sleeve bow in:
http://www.thetimelinemovie.com/gallery/friel_anna.jpg
Straight out of last year's catalogs!

- Hope

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Manly Summerfield wrote:


> I appreicate your wanting to give us gifts we can use. . . Museum Replicas
> is not where to get these things? I dont want to be rude but I dont want
> them wasting money on things we cant use.


I ask for gift certificates to those places. I sell my mother on the 
fact that a gift certificate is easier for her to mail to us than the 
actual gift. It's easier for her than keeping track of sizes and color 
preferences and what we already have, and she can just pop a couple into 
the holiday card with the family photo.



Dawn



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> Last year I got the side laced cotehartie from MR with the large collar and
> cuffs. Its a cute dress but Im just never going to wear it and I know it was
> expensive.

I had the same problem. :) Then I mentioned to my mother,
"Christmas presents? Well, anything medieval for the house would work."
Then, whenever I visit, I bring a Toscano Replicas or Past Times catalog
along, and "leave it behind." for her.

Ever since then, it's been medieval tapestries, carved chests, embroidered
silk curtains, preraphaelite Waterhouse paintings, all sorts of yummy
stuff. Yay!

Good luck,

Drea

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From: Drea Leed <drea@nospam>
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> Last year I got the side laced cotehartie from MR with the large collar and
> cuffs. Its a cute dress but Im just never going to wear it and I know it was
> expensive.

I had the same problem. :) Then I mentioned to my mother,
"Christmas presents? Well, anything medieval for the house would work."
Then, whenever I visit, I bring a Toscano Replicas or Past Times catalog
along, and "leave it behind." for her.

Ever since then, it's been medieval tapestries, carved chests, embroidered
silk curtains, preraphaelite Waterhouse paintings, all sorts of yummy
stuff. Yay!

Good luck,

Drea

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Drea Leed wrote:
> "Christmas presents? Well, anything medieval for the house would work."

For our wedding, we recieved a chain-mail wall sculpture.  I hope they 
didn't pay much for it, but I have this fear that they found it as ART 
somewhere and spent $400. (picture at 
http://www.virtue.to/articles/bath.html )

How about gift certificates to the good online fabric retailers?  Thai 
Silks, G street fabrics, Greenberg & Hammer?

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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Subject: [h-cost] Master and Commander - a resource
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>>The Patrick O'Brian discussion forum has been debating the forthcoming
film for months. Apparently the plot is a mixture of elements from
"Master and Commander" and "The Far Side of the World" - but no, I don't
think any of the major female characters appear.

Since discussion has started on this movie... though I'd share a
wonderful score on a source for helping folks recreate the costumers.

While researching LOTR Ring costumes, found the button supplier for
them... or at least some of the buttons.  The company is Hushco Buttons.
While taking to Michael, found out they sell to lots of movies.... and
the sheer number of buttons they sold to Master and Commander was
astronomical.  But when you think about all those uniforms... it can add
up.

http://hushcobuttons.com/serv04.htm has some generic info about their
buttons and services.  They've got about half their buttons on line.
Michael is very good at identifying what you're looking for.

They are mostly wholesale, but we did work out a compromise for LOTR.
They will ship order over 20.  Prefer not to ship under a dozen buttons
at a time. If you're going to buy even 5-6 dozen, buy a gross, it's
cheaper... much.

I pick up a gross for Boromir and Arwen's Mourning gown.  They're
downright decedent. The buttons are very high quality, heavy metal.  

-Cat-


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> I have a question thats a matter of tact (which isnt my strong suit).
> My family all knows we do the reinactment gig and some are rather
> supportive. The problem comes during the gift giving season when they
> attempt to give us gifts they thing fit with the medival hobby. Last
> year our gifts were quit pricy yet not useful at all. Is there a way
> yall would suggest saying, Where I appreicate your wanting to give us
> gifts we can use. . . Museum Replicas is not where to get these
> things? I dont want to be rude but I dont want them wasting money on
> things we cant use. Last year I got the side laced cotehartie from MR
> with the large collar and cuffs. Its a cute dress but Im just never
> going to wear it and I know it was expensive.

Give them catalogues of things you *do* like with the preferred items 
circled. That way they'd get some idea of what you like. I don't know 
about your family, but mine always asks for a "list" of things we'd 
like. I usually tell them to give me gift certificates (which are 
easier to mail), but if it's for when we're going to be there in 
person, I do the catalogue thing. (And I make sure that there is a 
variety of prices so that they don't feel obligated to get me the 
most expensive things.)

Kat
<kat@redtrollforge.com>


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I got this e-mail yesterday (probably because a Google search showed her I
carried Brooke's book and I seemed more likely to answer than Amazon).  I
have no clue but I thought someone on this list might.

----- Original Message -----
From: "Emily Bernhard" <ebernhard@mpbc.org>
To: <castle@erie.net>
Sent: Tuesday, November 11, 2003 3:51 PM


> Hello!
>
> I am trying to locate Iris Brooke, the historical costume design expert
> and wonder if you might point me in the right direction.
>
> Thanks so much!
>
> Emily Bernhard
> Producer
> Maine PBS
> 1450 Lisbon Street
> Lewiston, ME 04240
> 1-800-884-1717 x 5190
>
I guess my reaction was to wonder if she is still alive - didn't her books
come out in the mid-fifties?

Janet

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

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>> Funny that this author comes up - I just discovered Baker from Drea, who
>> recommended "Garden of Iden" to me. I really enjoyed it and the sequel
>"Sky
>> Coyote" is on my never-ending book pile.

One of the reasons Kage gets all the 16th century details in "Garden Of
Iden" right is that she's a long time reenactor.  She and her partner,
Kathleen Bartholomew, have been participants and instructors at the
Rennaissance Pleasure Fairs in California for...well, longer than I've been
working them!  A genration of us learned our BFA (Basic Faire Accent) and
much of our knowledge of customs and history of the period from Kage and
Kathleen.

Margo



"One Tough Costumer"

www.margospatterns.com
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From h-costume-bounces@indra.com  Wed Nov 12 13:47:15 2003
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] RE: Costuming in movies rant
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Cindy wrote:
> The current aesthetic to what is beautiful will
> influence to at least some
> degree what the designer designs.

Certain looks are timelessly beautiful, regardless of
current fashion, on a purely asthetic level. There is
a reason that late-14th century fashion is so popular
in medieval dress-up organizations, for instance -- it
looks darn-good on just about everybody -- at least
when done well. I can't imagine that professional
historical costume designers working for the
movie/television industries don't KNOW that. Is it
more pressure from the money-holders, though, that
clamp down on their attempts to get things right as
opposed to "Olden-days for Dummies"?

> The majority
> of people who go to the movies expect spectacle in
> "costume movies", not
> accuracy. 

But where did Hollywood get the idea that 'spectacle'
and 'accuracy' need to be mutually exclusive? This
assumption has confused me for a long time. The
accurate portrayal of just about any period in history
is just as spectacular and asthetically-pleasing and
often MORE so than any purposefully inaccurate idea of
that period dreamed up in Hollywood. Look at British
and French historical movies -- not perfect, but a
good sight better when it comes to mise-en-scene and
costuming. They prioritize those factors, and it
doesn't seem to hurt them locally at the box office or
on TV.

-Tasha

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From h-costume-bounces@indra.com  Wed Nov 12 13:48:54 2003
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From: "Teena Paradise" <bkessinger@ureach.com>
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Subject: Re: [h-cost] Gift giving season Problem
Date: Wed, 12 Nov 2003 13:47:46 -0500
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We are doing lists this year and started a family yahoo group to facilitate
it. I went to a bunch of different websites that sells cool stuff and listed
the links with what item, size etc next to it. This included some patterns I
have wanted, a lovely new belt, etc. I also included sites where I would
like gift certificates like Fashion Fabrics Club. Hopefully this year's
gifts will be on the mark!

Teena
who doesn't want another ugly metal dog sculpture like last year!

----- Original Message ----- 
From: "Cynthia Virtue" <cvirtue+dated+1084211004.8e67f8@thibault.org>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 12, 2003 12:45 PM
Subject: Re: [h-cost] Gift giving season Problem


> Drea Leed wrote:
> > "Christmas presents? Well, anything medieval for the house would work."
>
> For our wedding, we recieved a chain-mail wall sculpture.  I hope they
> didn't pay much for it, but I have this fear that they found it as ART
> somewhere and spent $400. (picture at
> http://www.virtue.to/articles/bath.html )
>
> How about gift certificates to the good online fabric retailers?  Thai
> Silks, G street fabrics, Greenberg & Hammer?
>
> -- 
> Cynthia Virtue and/or
> Cynthia du Pré Argent
>
>    "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
>         "I knew this wasn't _my_ pen!"  --Cynthia V.
> _______________________________________________
> 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>
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Subject: Re: [h-cost] Fw: Iris Brooke
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On Wed, 12 Nov 2003, Janet Davis wrote:

> > I am trying to locate Iris Brooke, the historical costume design expert
> > and wonder if you might point me in the right direction.

> I guess my reaction was to wonder if she is still alive - didn't her books
> come out in the mid-fifties?

Thirties, I think. I presume she's way long gone. Maybe ask just what the
lady is looking for ... maybe she doesn't mean Iris Brooke at all.

--Robin

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My family has a wonderful tradition of making Christmas lists.  They are 
general guidelines of things we want.  Since we've grown up and moved across 
the country, they are now even more appreciated.  On a list you can get as 
specific as necessary to get the point across.

It's an easy tradition and it's always fun to see what everyone is 
interested in and how our interests change with the years.

Plus, it's a great way to keep in touch!

:)  jessica

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My family has a wonderful tradition of making Christmas lists.  They are 
general guidelines of things we want.  Since we've grown up and moved across 
the country, they are now even more appreciated.  On a list you can get as 
specific as necessary to get the point across.

It's an easy tradition and it's always fun to see what everyone is 
interested in and how our interests change with the years.

Plus, it's a great way to keep in touch!

:)  jessica

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Subject: Re: [h-cost] Gift giving season Problem
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In a message dated 11/12/2003 1:09:09 PM Eastern Standard Time, 
cvirtue+dated+1084211004.8e67f8@thibault.org writes:
How about gift certificates to the good online fabric retailers?  Thai 
Silks, G street fabrics, Greenberg & Hammer?
I believe G Street is longer doing online retail--they stopped last year, and 
I don't believe they have started again.
Ann Wass
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That's such a great idea!  I think I'll pose this idea to my family.

:) jessica

>We are doing lists this year and started a family yahoo group to facilitate
>it. I went to a bunch of different websites that sells cool stuff and 
>listed
>the links with what item, size etc next to it. This included some patterns 
>I
>have wanted, a lovely new belt, etc. I also included sites where I would
>like gift certificates like Fashion Fabrics Club. Hopefully this year's
>gifts will be on the mark!
>
>Teena
>who doesn't want another ugly metal dog sculpture like last year!
>

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Subject: Re: [h-cost]  Time travel as research tool of the future...
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> If I could time travel, I'd never have to sew again - I'd just go back and
> have the stuff made and bring it back.  The sewing part is a means to an
> end, as far as I'm concerned.  The real fun is wearing the stuff, and
doing
> living history in it.

Hmm... tempting. But I like saying "I made it myself" too much to do that
:-)
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> with one exception-"Elizabeth" which I think was absolutely wretched and a
total waste of perfectly good film.

Hmm, can you tell us why? I'm not in love with that movie, so don't worry
about it - I'm just curious.
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Subject: Re: [h-cost] Costuming in movies rant
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On this subject: has anyone seen the movie Ridicule? I don't know if it was
ever translated in English, but I get the feeling that there was a lot of
effort put into the costumes, makeup and general setting of the movie. Of
course, it's not my period of choice, I can't even put a date on it
(somewhere in the 18th C?), but I'd love to hear what you thought of it.
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From: Jean Waddie <anne@montgomerie.demon.co.uk>
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Hope Greeenberg <hope.greenberg@uvm.edu> wrote
>
>
>Marc Carlson wrote:
>> What I am objecting to here is really the unconscious condescension 
>>that  is regularly shoved at us that the past was an ugly, dirty place 
>>where  people didnâ€™t even know how to keep reasonably clean, finish 
>>seams for  leather garments, weave proper cloth, and so on.  If the 
>>film industry
>
>*sigh* Hear! Hear!
>Then again, we are still under the spell of social Darwinism, so we 
>must adhere to the basic tenet: our culture reflects our superiority. 
>Those aspects of our culture that we prize: bodily cleanliness, 
>synthetic textiles, etc. cannot be challenged by other times/cultures. 
>Thus, portrayals of other cultures must include filth, rough textiles, 
>and poor workmanship. (There is probably no small amount of western 
>insecurity mixed in here as well...)
>
>Look on the bright side: the clothing, while not a clue to the 
>attitudes or capabilities of the period portrayed, can act as a great 
>indicator to future historians (assuming they will be interested in 
>such things--the study of history has many fashions as well). For 
>example, check out the little sleeve bow in:
>http://www.thetimelinemovie.com/gallery/friel_anna.jpg
>Straight out of last year's catalogs!
>
>- Hope


Ugh!  OK, the pair of you have convinced me, I'm not spending money to 
see this.  I shall stay at home with Blackadder and Monty Python - 
proper costuming!

Jean

-- 
Jean Waddie
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Jennifer Fleury <jenniferfleury@sbcglobal.net> wrote
>
>>Hey, why worry?  We saw the trailer for Timeline when we went to The
>>Matrix: Revolution.  Switch off brain and critical faculties, watch
>>Keanu.  If scriptwriters worried about logical inconsistencies, there'd
>>be no films!  I'm seriously considering getting a bunch of re-enactor
>>friends together for a Tuesday afternoon showing of Timeline and just
>>ripping it to bits!
>
>>Jean
>
>As a film maker myself (I do props for TV and films), the horrible 
>thing is that the scriptwriters often DO worry about logical 
>inconsistencies.  After what seems like thousands of meetings to decide 
>where we can and can't "cheat", they typically write toward the 
>accurate and then in shooting, it all sort of crashes and burns. 
>Between directors, producers, actors and every soul investing 100 bucks 
>or more it usually gets ripped apart during filming.  And the #1 
>excuse?  "If they're watching for that, they're missing the point" 
>(!!!!!!!!!!!)  Those of us who care about these things are definitely 
>in the minority.  If not the sub-minority.  Usually when the "higher 
>ups" are making the decision to throw logic (and/or history) to the 
>wind and receive objections from one of the departments trying to make 
>it realistic, they say, "okay, so there's gonna be 10 people who are 
>into kwakiutl indian war canoes who will be offended.  so what?"  And 
>speaking for the majority of the peopl!
> e who
> have to make it happen, it's heartbreaking.  Our response tends to be 
>"If only 10 people know, why not do it RIGHT?  The ignorant people 
>won't know the difference and those who do will be impressed"   All I 
>can say is speak up!  E-mail the productions via their websites.  Shows 
>DO seem to listen when the feedback gets truly ugly.
>I'm currently working on a mid-season replacement TV series which 
>involves a Los Angeles  law firm in the year 2054-we're inventing the 
>future.  It is a period, even if it's not one we can research.  And 
>some of the ideas are fantastic, some are truly terrifying.  But I know 
>they're concerned about how the audience will receive the decisions. 
>(One advantage of TV over film-feedback can be worked in!)  So don't 
>just resign yourself to ripping things apart, be heard.  Even if the 
>movie is already made, the next production to attempt something 
>similiar will have followed how it was received and may (slightly) 
>adjust their production values because of it!  Which is not to say that 
>horrible movies will not continue to be made!!!  Anything for the 
>almighty dollar!
>
>
>Jennifer Fleury
>Assistant Property Master
>"Century City"
>Universal Network Television
>

Jennifer,

"Logical inconsistencies" was probably the wrong phrase for what I 
meant. I mean the application of basic common sense or high school 
science that just stops a movie dead in its tracks.  In the Matrix - why 
do the computers need to make the humans believe they're living and 
walking around, why don't they just keep them unconscious?  Humans and 
dinosaurs co-existing (before Jurassic Park techniques).  Those things 
that you have to allow to happen, or you have no plot.

When it comes to feedback, I suspect you have to wait for the 
productions that get it at least 80% right, where somebody cares and we 
can say "It would have been even better if...".  In any field, the 
experts are not a large enough field to affect the box office, if the 
attitude is "it's just a romp, we never intended it to be a history 
lesson".

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] Gift giving season Problem
References: <20031112122126.F36274-100000@shell.siscom.net>
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Cynthia Virtue <cvirtue+dated+1084211004.8e67f8@thibault.org> wrote
>Drea Leed wrote:
>> "Christmas presents? Well, anything medieval for the house would work."
>
>For our wedding, we recieved a chain-mail wall sculpture.  I hope they 
>didn't pay much for it, but I have this fear that they found it as ART 
>somewhere and spent $400. (picture at 
>http://www.virtue.to/articles/bath.html )
>
Can't you take it to bits and turn it into a coif or something else 
useful ;-) ?

Jean
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> I can't imagine that professional
>historical costume designers working for the
>movie/television industries don't KNOW that. Is it
>more pressure from the money-holders, though, that
>clamp down on their attempts to get things right as
>opposed to "Olden-days for Dummies"?

Unfortunately, costume designers don't have final say in anything-as pointed out previously the actors have lots of input, but more often than not it's the director, sometimes the producers. It amazes me how often they look at something wonderful and say "I don't like it".  Generally speaking, these are not people who know anything about history, usually it has more to do with putting together nice frames on time and on budget.  They are often young people who grew up as filthy rich fashionistas and they only things they personally like are whatever is currently hot.  What no Prada in the 16th century?  No  7 jeans?  This doesn't look right.  These poor people-dirty them up!  They look too nice!  It's truly ridiculous at times and I cannot describe how frustrating.



>But where did Hollywood get the idea that 'spectacle'
>and 'accuracy' need to be mutually exclusive? This
>assumption has confused me for a long time.

Me too!!

 



Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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What I do is hand out a list of things I'd like. Books, both related and
unrelated to costuming, DVDs, CDs, and drop a bunch of places for which I'd
like gift certificates (fabric stores, supply stores, etc). That way, they
have a range of prices they can choose from, and I don't end up with
something I can't use.
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--- Cindy Abel <brujne@creighton.edu> wrote:
 

> And what do the director and studio heads want to
> see onscreen? The majority
> of people who go to the movies expect spectacle in
> "costume movies", not
> accuracy. And what about film censors(Remember the
> Hays office)
>

Cindy, maybe I'm just too young or unread, but what is
the Hays office?

Angharat

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> In the Matrix - why
> do the computers need to make the humans believe they're living and
> walking around, why don't they just keep them unconscious?

They do explain it, if I remember it right. Something along the lines of
"They don't thrive if we don't make them believe they have problems", or
some other explanation of the kind.

But now we're far away from historical costuming :-) Well... the Matrix did
make "the look" popular...
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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
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Subject: [h-cost] Searching for Victorian costume group...
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Dear All,

  I'm fairly new to costuming and am eager to learn! I'm primarily
interested in the Victorian era (well, yes, the Elizabethan, too...) and
am looking for some sort of Victorian 'group' out in my neck of the woods
(reenactment, sewing, what have you). I live in Western MA and am
surrounded by five colleges and lots of artsy people. I've searched and
searched and can't find anything! I would certainly appreciate any info
anyone would have!

  Thanks!

  Kate Ussailis 


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Date: Wed, 12 Nov 2003 16:19:19 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Searching for Victorian costume group...
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Hi, Kate! Great to see you on the list!

Everyone, this is my friend Kate. (Kate, list; List, Kate.) She is
exceptionally cool and knows everything there is to know about herbs and
gardening, as well as being very interested in Victorian costume.

Drea

On Wed, 12 Nov 2003, Catherine Ussailis wrote:

> Dear All,
>
>   I'm fairly new to costuming and am eager to learn! I'm primarily
> interested in the Victorian era (well, yes, the Elizabethan, too...) and
> am looking for some sort of Victorian 'group' out in my neck of the woods
> (reenactment, sewing, what have you). I live in Western MA and am
> surrounded by five colleges and lots of artsy people. I've searched and
> searched and can't find anything! I would certainly appreciate any info
> anyone would have!
>
>   Thanks!
>
>   Kate Ussailis
>
>
> _______________________________________________
> 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 Nov 12 16:46:46 2003
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Date: Wed, 12 Nov 2003 13:27:14 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Time travel and musketeers
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>I remember a group of us sitting around in Victorian outfits (don't ask)
>discussing movies when one of our number brought up The Three Musketeers. We
>all smiled with good thoughts of Oliver Reed, Charlton Heston et al in those
>richly made and decorated robes, tunics, caps and gowns.

IMHO, Lester's 3/4 M's are some of the best period films ever made. 
Costumes fit character, they are well inhabited.   Film is great, 
score is great, action is great (and also suited to each character). 
For me, it's the benchmark of what a period film should be.   OK, 
never mind that they diverged a bit from the details of Dumas.... ;-/ 
In the strict sense of FILMMAKING, they NAILED it.   Just MHO, of 
course...

>"Hmm," the young lady continued, "and I thought Keifer Sutherland looked
>great in his - "

I refer you back to my marketing statement.... ;-(((((((((((

Rima
Someday I will copy that dressing gown that Milady wears in her knife 
fight at home....   wow.
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Date: Wed, 12 Nov 2003 13:20:26 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Re: movies
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>In a message dated 11/11/2003 1:27:57 PM Eastern Standard Time,
>gailscott@eos.net writes:
>
>>  What do you think is the best place to write -- the
>  > studio itself?
>
>Nah.....the producers.
>
>While your at it.....write those idiots who did a sequel to "Gone With the
>Wind". [but wouldn't let that black writer write a book based on it]

Nah...... the MARKETING department, where most decisions are made 
these days.  ;-(

For example, Leo is fresh as a daisy under his mask because the 
Marketing Gurus know that all of his little girl fans don't want to 
see him looking bad....

I have hope for  Girl With a Pearl Earring, precisely because it was 
not made in Hollywood.   All the money was English and done thru the 
Luxembourg tax deal.   Picked up by Lions Gate, which means that all 
the majors didn't think it was "commercial" enough.   Good news. 
When a movie is "commercial enough", that means it has targeted the 
lowest common denominator of viewer....

Rima
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From h-costume-bounces@indra.com  Wed Nov 12 16:59:41 2003
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Date: Wed, 12 Nov 2003 13:36:45 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Costuming in movies rant
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>On this subject: has anyone seen the movie Ridicule? I don't know if it was
>ever translated in English, but I get the feeling that there was a lot of
>effort put into the costumes, makeup and general setting of the movie. Of
>course, it's not my period of choice, I can't even put a date on it
>(somewhere in the 18th C?), but I'd love to hear what you thought of it.

One of my FAVE movies!    Available subtitles only, as well it should 
be!   Time period is Louis XVI.

Excellent, excellent, in every respect!

Rima
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From h-costume-bounces@indra.com  Wed Nov 12 17:18:10 2003
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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Searching for Victorian costume group...
Date: Wed, 12 Nov 2003 15:16:19 -0700
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Hi Kate!  You must live in Amherst or nearby.....(I used to live there).  I
don't have any contacts for you specifically, but just HAD to tell you about
this place to visit sometime while you are on the east coast:
http://www.mohonk.com/frameset.htm
They have Victorian gatherings in their Victorian Gardens.  FABULOUS....I
wonder if you contacted them if you might find a group in western New
York....



Sg


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From h-costume-bounces@indra.com  Wed Nov 12 17:23:21 2003
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Kate, I went to school at Smith and I seem to remember trying to get
involved with a Victorian dance group out in that area.  (Turned out
disastrously, but that was some years ago and I was not so clued in then as
I am now).  I can try to dig up some more information if that's something
you might be interested in.

Maura Burns

**********
Prophecy was a faith for the ignorant and a diversion for
the rich, and I was neither.       -(Emma Bull, Bone Dance)

>Dear All,

>  I'm fairly new to costuming and am eager to learn! I'm primarily
interested in the Victorian era (well, yes, the Elizabethan, too...) and
am looking for some sort of Victorian 'group' out in my neck of the woods
(reenactment, sewing, what have you). I live in Western MA and am
surrounded by five colleges and lots of artsy people. I've searched and
searched and can't find anything! I would certainly appreciate any info
anyone would have!

>  Thanks!

>  Kate Ussailis



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Date: Wed, 12 Nov 2003 17:43:35 -0500 (EST)
From: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Searching for Victorian costume group...
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If you are willing/able to travel to the Boston, MA area I am part of a
vintage dance group here.  We run events based in 3 main periods,
1860's, 1890's and 1910's.

Check out the dance group's website: www.vintagedancers.org

Our next dance event is a Vintage tea dance Sunday afternoon December
14, it'll be Ragtime era (1910-20).  Our next formal ball will be
January 24, 1890's era.  Look on the website for a more complete listing
of upcoming events.

The dancemaster for our group and his wife also sponsor a Civil War era
sewing circle approximately one a month.

Katy

www.vintagevictorian.com

On Wed, 12 Nov 2003, Catherine Ussailis wrote:

>Dear All,
>
>  I'm fairly new to costuming and am eager to learn! I'm primarily
>interested in the Victorian era (well, yes, the Elizabethan, too...) and
>am looking for some sort of Victorian 'group' out in my neck of the woods
>(reenactment, sewing, what have you). I live in Western MA and am
>surrounded by five colleges and lots of artsy people. I've searched and
>searched and can't find anything! I would certainly appreciate any info
>anyone would have!
>
>  Thanks!
>
>  Kate Ussailis
>
>
>_______________________________________________
>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: Katy Bishop <vintage@shore.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Searching for Victorian costume group...
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If you are willing/able to travel to the Boston, MA area I am part of a
vintage dance group here.  We run events based in 3 main periods,
1860's, 1890's and 1910's.

Check out the dance group's website: www.vintagedancers.org

Our next dance event is a Vintage tea dance Sunday afternoon December
14, it'll be Ragtime era (1910-20).  Our next formal ball will be
January 24, 1890's era.  Look on the website for a more complete listing
of upcoming events.

The dancemaster for our group and his wife also sponsor a Civil War era
sewing circle approximately one a month.

Katy

www.vintagevictorian.com

On Wed, 12 Nov 2003, Catherine Ussailis wrote:

>Dear All,
>
>  I'm fairly new to costuming and am eager to learn! I'm primarily
>interested in the Victorian era (well, yes, the Elizabethan, too...) and
>am looking for some sort of Victorian 'group' out in my neck of the woods
>(reenactment, sewing, what have you). I live in Western MA and am
>surrounded by five colleges and lots of artsy people. I've searched and
>searched and can't find anything! I would certainly appreciate any info
>anyone would have!
>
>  Thanks!
>
>  Kate Ussailis
>
>
>_______________________________________________
>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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Date: Thu, 13 Nov 2003 10:02:34 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: Re: [h-cost] More Costumes in Movies
To: Historical Costume <h-costume@indra.com>
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 --- Ron Carnegie <r.carnegie@verizon.net> wrote: > 
> > <http://www.masterandcommanderthefarsideoftheworld.com/>
> 
>    For what it is worth there is at least one gown.


Woo-hoo! Thanks Ron. I was going to go watch it no matter what, but that helps. My fiancee and
myself are both naval history movie fans. Just about anything to do with the sea or tall ships is
fair game. We don't get to the cinema much, but some films are a must-see on the big screen, and
I've kicked myself in the past for not going. :)

=====
**************************************** 
Lady Bella Lucia da Verona 

*The Realm of Venus: Ladies Clothing in 16th Century Venice 
http://realmofvenus.renaissancewoman.net 
*Courtesan Mailing List 
http://groups.yahoo.com/group/Courtesan/ 
*****************************************

http://personals.yahoo.com.au - Yahoo! Personals
New people, new possibilities. FREE for a limited time.
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My family hates lists, particularly my sister - they love everything to be a
surprise :/

Having said this, they will sometimes use a list as a "guide", and I usually
suggest books - I can always use more books, and as they usually order
through Amazon or another large retailer I can always return it if it turns
out to be something I already have (is seldom a dud - my entire family are
book nuts :) )

Luckily my family is wise enough to know that they don't understand the
scope of my hobby, and don't try to look for things where I have very
specific requirements (cloth, buttons, notions, etc).

Allison T.

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Date: Wed, 12 Nov 2003 22:24:12 +0000
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 761
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A terrible case of knowing too much - why is the poor girl living in 
draughty, bare-stone Durham Cathedral, instead of a nice cosy 
wood-panelled palace near London?  And if the spy is coming from France 
to visit Norfolk, why is he landing at Bamburgh, a good 200 miles north?

Actually, I thought it gave a really good feel for the political 
intrigue, but it would have been just as well done in modern dress.  The 
interiors were just so wrong there was no point having it in "period" 
costume.

Jean


Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote
>> with one exception-"Elizabeth" which I think was absolutely wretched and a
>total waste of perfectly good film.
>
>Hmm, can you tell us why? I'm not in love with that movie, so don't worry
>about it - I'm just curious.
>_______________________________________________
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>h-costume@mail.indra.com
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-- 
Jean Waddie
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Subject: Re: [h-cost] Costuming in movies rant
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In a message dated 11/12/2003 2:51:47 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> has anyone seen the movie Ridicule?

I saw it. It was kinda OK. The costumes were nothing to bowl you over but 
were not dreadful. The attitudes were another thing. Emancipated women trying 
things like deep sea diving just isn't very 18th century to me. It's what I call 
the "Dr.-Quinn-Medicine-Woman Syndrome". Dress 'em up in all the underpinnings 
you want and then have them act like Charlie's Angels.
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Subject: Re: [h-cost] Re: movies
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In a message dated 11/12/2003 4:46:40 PM Eastern Standard Time, rima@anet.net 
writes:

> Nah...... the MARKETING department, 

Marketing doesn't come into it until after the film is finished.

No the producers are the ones who say "Leo's face can't be dirty" and then 
the marketing people exclaim "Oh absolutely! You're SO right about this!"

If you had a producer with some wherewithal who said "But Leo's face needs to 
looks filthy" the marketing people would exclaim: "Oh Absolutely! You are SO 
right about this."

If Leo then steps in and says "I can't be seen with a dirty face...clean me 
up!" The marketing people will exclaim: "Oh Absolutely......."
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From: Rima <rima@anet.net>
Subject: Re: [h-cost] Costuming in movies rant
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>In a message dated 11/12/2003 2:51:47 PM Eastern Standard Time,
>audreybmorin2@hotmail.com writes:
>
>>  has anyone seen the movie Ridicule?
>
>I saw it. It was kinda OK. The costumes were nothing to bowl you over but
>were not dreadful. The attitudes were another thing. Emancipated women trying
>things like deep sea diving just isn't very 18th century to me. It's 
>what I call
>the "Dr.-Quinn-Medicine-Woman Syndrome". Dress 'em up in all the underpinnings
>you want and then have them act like Charlie's Angels.

I don't think they thought of her as emancipated.   As I recall, they 
thought she was insane....

Rima
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From: Rima <rima@anet.net>
Subject: Re: [h-cost] Re: movies
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>In a message dated 11/12/2003 4:46:40 PM Eastern Standard Time, rima@anet.net
>writes:
>
>>  Nah...... the MARKETING department,
>
>Marketing doesn't come into it until after the film is finished.

Oh, no, that's not what I see.....  BTW, I own a talent agency - have 
had nearly 50 movies made.   And, from the inception of the project, 
the studio people are constantly considering what the marketing wonks 
say they can "sell" or "not sell".

>No the producers are the ones who say "Leo's face can't be dirty" and then
>the marketing people exclaim "Oh absolutely! You're SO right about this!"

I disagree.    Just saw it happen on Timeline.   (yeah, one of my 
clients worked on it)

>If you had a producer with some wherewithal who said "But Leo's face needs to
>looks filthy" the marketing people would exclaim: "Oh Absolutely! You are SO
>right about this."

again, I disagree....

>If Leo then steps in and says "I can't be seen with a dirty face...clean me
>up!" The marketing people will exclaim: "Oh Absolutely......."

Now THERE I agree with you.   EVERYONE is the person with the Movie 
Star's opinion!

Rima
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Bless them for trying! <g>
I'd say it's a process of education and redirection.  My family tends to
do "Christmas lists," or we give gift certificates, which works very
well as we all enjoy music, and some of us are voracious readers, but
our tastes are very divergent, and we don't live close together, so it's
impossible to keep up on what we do and don't already have in our
bookshelves.
We all have internet access, so this year, I'll probably point them in
the direction of places like the Wooded Hamlet, and some online stores
that sell wool and spinning/weaving stuff (my big thing at the moment).
Oh, it occurs to me that some sites have "wish lists"--at least, Amazon
does.  If you're wanting books or whatever, you could set one of those
up!
--sue

Manly Summerfield wrote:
> 
> Greetings all.
> 
> I have a question thats a matter of tact (which isnt my strong suit). My
> family all knows we do the reinactment gig and some are rather supportive.
> The problem comes during the gift giving season when they attempt to give us
> gifts they thing fit with the medival hobby. Last year our gifts were quit
> pricy yet not useful at all. Is there a way yall would suggest saying, Where
> I appreicate your wanting to give us gifts we can use. . . Museum Replicas
> is not where to get these things? I dont want to be rude but I dont want
> them wasting money on things we cant use.
> Last year I got the side laced cotehartie from MR with the large collar and
> cuffs. Its a cute dress but Im just never going to wear it and I know it was
> expensive.
> 
> Thanks!!
> Muirgheal
> Molann an obair an fear.
> 
> _______________________________________________
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> >On this subject: has anyone seen the movie Ridicule? I don't know if it
was

> One of my FAVE movies!    Available subtitles only, as well it should
> be!   Time period is Louis XVI.
>
> Excellent, excellent, in every respect!

I liked it a LOT for the historical aspects, but I found it a little
depressing. I liked Beaumarchais l'Insolent better, just because it ends
better :-)
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On Wednesday 12 November 2003 10:11 pm, Sue Clemenger wrote:
[snip]

> I'd say it's a process of education and redirection.  My family tends to
> do "Christmas lists," or we give gift certificates, which works very
> well as we all enjoy music, and some of us are voracious readers, but
> our tastes are very divergent, and we don't live close together, so it's
> impossible to keep up on what we do and don't already have in our
> bookshelves.

Yeah, so does our family.

My family has never tried getting me anything toward my costume hobby.  
However, the times they have attempted buying me clothes or jewelry have 
resulted in some presents it was truly challenging to accept with a straight 
face, let alone a simulacrum of pleasure.  

My sister-in-law, who dresses beautifully, once gave me a horrible brown and 
yellow scarf, with pink cabbage roses on it, that was an absolute horror.  
I've worn it all of once--when I was costuming as an illiterate Appalachian 
granny for a live-action roleplaying game!

Nowadays, I just don't ask my relatives for any clothes-related items at all.  

If you're relatives are persistent about wanting to get you something helpful 
for your reenactment/costuming hobby, I suggest giving them specific vendor 
names and item numbers or steer them toward vendors who issue gift 
certificates.  That way, you don't run the risk of getting something 
exquisitely expensive and well-intended that you cannot use and cannot stand 
to look at.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Re: Gift Giving Woes
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> Luckily my family is wise enough to know that they don't understand the
> scope of my hobby, and don't try to look for things where I have very
> specific requirements (cloth, buttons, notions, etc).

I think my parents really understood the scope of my hobby when we went to
what was called a "medieval" wedding. Never mind that the bride and groom
were in 18th century clothing! I got to shop around with them a little and
suggest patterns for family and friends. I ended up bringing the music,
correcting the DJ who said that "hydromel" was beer and wincing at every
supposedly medieval wedding custom they brought up. It was fun :-)
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] I need help!!!!
Date: Wed, 12 Nov 2003 22:53:14 -0500
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On Wednesday 12 November 2003 10:11 am, Hope Greeenberg wrote:
> Sounds like fun! Here are a couple: [snip]

Try this one too.

http://www.angevintreasures/aenor/womencl.htm
-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From h-costume-bounces@indra.com  Wed Nov 12 23:46:23 2003
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Date: Wed, 12 Nov 2003 19:31:25 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] Gift giving season Problem
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At 11:54 AM -0500 11/12/03, Manly Summerfield wrote:
>Greetings all.
>
>I have a question thats a matter of tact (which isnt my strong suit). My
>family all knows we do the reinactment gig and some are rather supportive.
>The problem comes during the gift giving season when they attempt to give us
>gifts they thing fit with the medival hobby. Last year our gifts were quit
>pricy yet not useful at all. Is there a way yall would suggest saying, Where
>I appreicate your wanting to give us gifts we can use. . . Museum Replicas
>is not where to get these things? I dont want to be rude but I dont want
>them wasting money on things we cant use.
>Last year I got the side laced cotehartie from MR with the large collar and
>cuffs. Its a cute dress but Im just never going to wear it and I know it was
>expensive.

I'm not sure there's any way to do it except having a straightforward 
talk with people about the issue.  Some sort of angle like, "I really 
appreciate how enthusiastic you are about supporting my interests, 
and it's incredibly thoughtful of you to give me medieval things, but 
you know, clothing tastes are awfully tricky.  You know all the jokes 
about the chartreuse sweater from Aunt Marge that you only drag out 
when she comes to visit?  It's hard for someone who isn't actually 
involved in re-enactment to know the issues involved.  It's sort of 
like trying to buy school uniforms for a child without having the 
school's dress code available.  Of course I cherish anything you give 
me -- but it may not be appropriate for the events I participate in, 
which would be such a shame."  Well, and on with more of the same.

Of course, there's also the technique of engaging them in an 
enthusiastic conversation about historic clothing where you just 
happen to go on and on about how impossible it is to find 
commercially made historic outfits that are aimed at serious 
re-enactors rather than the "fantasy costume" crowd.

But I'm not sure there's such a thing as being too upfront about the 
issue.  For example, you'd think that after four decades of knowing 
me, my mother would have picked up on a few basics regarding my 
wardrobe.  And yet, one Christmas several years ago, she commented on 
a "nice sweater" that I had set out to go to Goodwill and I commented 
that the problem was that it was 100% acrylic and I just didn't care 
for synthetics.  She got this weird look on her face which, at the 
time, I interpreted as her recognizing that the sweater was one she'd 
given me several years before.  Then  few days later she confessed 
that she'd bought me an acrylic sweater as a present and she was 
going to exchange it, so could I go shopping with her and point out a 
suitable variety of items that I _would_ wear so she could choose one 
and still have the precise gift be a surprise.  But still, after four 
decades ....

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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From h-costume-bounces@indra.com  Thu Nov 13 09:56:07 2003
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Date: Thu, 13 Nov 2003 07:56:09 -0700
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To: Historical Costume <h-costume@indra.com>
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Oh, lord, that *would* be a pain! That was stuff I never picked up on
because I just didn't know!  Well, and I was too busy tearing my hair
out over the "collapsing" of several decades' worth of costuming into
one, short time period (whatever their dubious reasons for same--it
drove me nuts!)
I suspect it wouldn't have bugged me that bad if I hadn't known
something about the time period.
--sue

Jean Waddie wrote:
> 
> A terrible case of knowing too much - why is the poor girl living in
> draughty, bare-stone Durham Cathedral, instead of a nice cosy
> wood-panelled palace near London?  And if the spy is coming from France
> to visit Norfolk, why is he landing at Bamburgh, a good 200 miles north?
> 
> Actually, I thought it gave a really good feel for the political
> intrigue, but it would have been just as well done in modern dress.  The
> interiors were just so wrong there was no point having it in "period"
> costume.
> 
> Jean
> 
> Audrey Bergeron-Morin <audreybmorin2@hotmail.com> wrote
> >> with one exception-"Elizabeth" which I think was absolutely wretched and a
> >total waste of perfectly good film.
> >
> >Hmm, can you tell us why? I'm not in love with that movie, so don't worry
> >about it - I'm just curious.
> >_______________________________________________
> >h-costume mailing list
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> 
> --
> Jean Waddie
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From h-costume-bounces@indra.com  Thu Nov 13 11:00:05 2003
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From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Costuming in movies rant
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For me, hair is the easiest and quickest way to date a movie. I don't know
how or why, but my subconscious picks up and dates hairstyles more quickly
than costume...especially for movies made in the past 30 years.

It's funny, how a movie can have spot-on costume, but the hair and makeup
will be fabulously modern. Especially for the leading actors/actresses.

Drea


On Thu, 13 Nov 2003, Cindy Abel wrote:

> For those of you who aren't old enough or don't know what the Hays Office
> is/was.
>
> There were a lot of scandals in Hollywood that earned a lot of newscoverage
> during the the silent era. There were no movie ratings so some movies were
> pretty wild for their day. Hays(forget his first name)became like the
> spearhead to "decency in movies" and the Hays Code is named after him.I
> caught a clip on him when the History Channel or A&E was doing a segment on
> censorship in the movies. Came off as an earnest geek in modern parlance.
> Geeky voice too, but speech in the early talkies is fascinating to hear--how
> sound in radio, TV and movies has affected American speech in about eighty
> years. Anyway, movie censorship became national instead of local(re: the old
> "banned in Boston") All studio-produced U.S. movies had to be approved
> through the office and this not only affected the script--language, morals,
> good ends up winning over evil, etc, but costuming as well.  Even if
> historically accurate, necklines of the female characters had to abide by
> the Hays Code and not be cut too low, no codpieces on the men and no sheer,
> or really revealing costumes on the women. This went for contemporary-set
> pictures as well.  I love to watch the old costume movies when they show on
> Turner Classic Movies, miss the opening credits so I can play "Date the
> Movie and Costume Critique."
>
> Cindy Abel
>
>
>
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Angharad ver' Reynulf
> Sent: Wednesday, November 12, 2003 2:39 PM
> To: Historical Costume
> Subject: RE: [h-cost] Costuming in movies rant
>
>
>
> --- Cindy Abel <brujne@creighton.edu> wrote:
>
>
> > And what do the director and studio heads want to
> > see onscreen? The majority
> > of people who go to the movies expect spectacle in
> > "costume movies", not
> > accuracy. And what about film censors(Remember the
> > Hays office)
> >
>
> Cindy, maybe I'm just too young or unread, but what is
> the Hays office?
>
> Angharat
>
> __________________________________
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Date: Thu, 13 Nov 2003 08:02:52 -0800 (PST)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
Subject: RE: [h-cost] Hays Office (was costume in movie rant)
To: Historical Costume <h-costume@indra.com>
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Thank you Cindy!

Always fun to learn something new.

Angharad,
definitely too young to have known that, but somehow
never read about it either.

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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Costuming in movies rant
Date: Thu, 13 Nov 2003 10:05:41 -0600
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- 
>
>Look on the bright side: the clothing, while not a clue to the 
>attitudes or capabilities of the period portrayed, can act as a great 
>indicator to future historians (assuming they will be interested in 
>such things--the study of history has many fashions as well). For 
>example, check out the little sleeve bow in:
>http://www.thetimelinemovie.com/gallery/friel_anna.jpg
>Straight out of last year's catalogs!
 

And aren't those modern gromments in the eyelets?  Those 14th century natives would have really liked that piece of technology that didn't come to pass until the 1820's or so. When I think of all the hours it took me to sew in two large jewelry jump rings(closest I could come to the metal rings reinforcing the eyelets during the Elizabethan era)on either side of each hand-punched eyelet hole on my gown for Ren Faire.... To say nothing of the very chic "medieval peasant look" I could wear that outfit to work. And no headcovering on a female her age--single or not! Nothing to do with modesty, but whether it was anything from a simple kerchief to the latest fashion in headgear for the super-rich, covering all those bad hair days before the advent of hairdressers and the styling tools, products, and hair not one's own grown.

Heck, I'll see this movie just to make fun of the costumes, but I'll wait 'til it hits the $1.50 theatre or DVD.

Cindy Abel




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From h-costume-bounces@indra.com  Thu Nov 13 11:38:20 2003
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Subject: [h-cost] Re: elizabeth
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To the person who liked "Elizabeth" (sorry, I deleted the post), you are not
alone. Millions of people liked it, so you are in good company. Many people
on this list or others could tell you about the laughable historical
innacurracies, and how bizarre the interpretation of Elizabethan history is,
but I'm not one of them.

I will share my top three reasons for thinking the movie is not good:

1) THE POISON DRESS!!!!!! A very fun idea for a bad fantasy movie or an
Alexandre Dumas-style historical intrigue. A ridiculous episode for anything
"historic."

2) Elizabeth nearly being assassinated at her boating party and no one
looking for the assassin.

3) Elizabeth not knowing her lover was married. It's not like the people at
court didn't know each other and their families.

Oh my, I'm coming up with more reasons. Sex in the drafty castle!
What's-his-name the counselor assassinating what's-her-name the Frenchwoman
after seducing her! I could go on and on!

And as a Catholic I found the end simply offensive, not to mention
historically ridiculous. Elizabeth did not wake up one day and put on white
makeup, watched by her weeping attendants, so that she could look like a
statue of the Virgin Mary for her spiritually starved country to worship.
That is a complete misreading of English history, the Reformation,
Elizabethan fashion, Catholicism, and Elizabeth herself. No, I take it back,
it's really too silly to be offensive.

Rant over.

Gail Finke



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From h-costume-bounces@indra.com  Thu Nov 13 11:41:26 2003
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Costuming in movies rant
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For those of you who aren't old enough or don't know what the Hays Office
is/was.

There were a lot of scandals in Hollywood that earned a lot of newscoverage
during the the silent era. There were no movie ratings so some movies were
pretty wild for their day. Hays(forget his first name)became like the
spearhead to "decency in movies" and the Hays Code is named after him.I
caught a clip on him when the History Channel or A&E was doing a segment on
censorship in the movies. Came off as an earnest geek in modern parlance.
Geeky voice too, but speech in the early talkies is fascinating to hear--how
sound in radio, TV and movies has affected American speech in about eighty
years. Anyway, movie censorship became national instead of local(re: the old
"banned in Boston") All studio-produced U.S. movies had to be approved
through the office and this not only affected the script--language, morals,
good ends up winning over evil, etc, but costuming as well.  Even if
historically accurate, necklines of the female characters had to abide by
the Hays Code and not be cut too low, no codpieces on the men and no sheer,
or really revealing costumes on the women. This went for contemporary-set
pictures as well.  I love to watch the old costume movies when they show on
Turner Classic Movies, miss the opening credits so I can play "Date the
Movie and Costume Critique."

Cindy Abel



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Angharad ver' Reynulf
Sent: Wednesday, November 12, 2003 2:39 PM
To: Historical Costume
Subject: RE: [h-cost] Costuming in movies rant



--- Cindy Abel <brujne@creighton.edu> wrote:


> And what do the director and studio heads want to
> see onscreen? The majority
> of people who go to the movies expect spectacle in
> "costume movies", not
> accuracy. And what about film censors(Remember the
> Hays office)
>

Cindy, maybe I'm just too young or unread, but what is
the Hays office?

Angharat

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Well, I can't agree with the people who liked the Leonardo diCaprio "Man in
the Iron Mask." Awful in every way, IMHO, although I've seen worse. Has
anyone seen the Richard Chamberlain version? It's not as good as the 1970s
Three Musketeers movies, but it's kind of a lame imitation and so worth
watching. Richard Chamberlain, of course, looks excellent. And the dancing
(one of my pet peeves in historical movies) actually RESEMBLEs period
dancing, although only vaguely.

There's a fun French 3 Musketeers movie that came out a few years ago, with
Sophie Marcieu (sp?) as D'Artagnan's daughter. We discussed it here at the
at the time, and everyone liked the costumes except for the evil woman
villain's gown, which is one of those "leading lady" gowns bearing no
resemblance to anything ever seen anywhere.

While we're on the subject -- someone mentioned "Dangerous Liaisons" as a
good costume movie. It is good, although it changed the book quite a bit.
But I think "Valmont" is even better, although it changed the book in a
completely different way. But it's a more rollicking movie, if you like to
see rollicking 18th-century stuff.

Gail Finke


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Ooo! The castle in NY looks dreamy! The pictures of the vintage dancers 
are amazing! What am I doing out here in the sticks? Thank so much, all!

Kate
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Kate Bunting
Library, University of Derby

>>> drea@nospam 11/12/03 05:25pm >>>wrote:

>I had the same problem. :) Then I mentioned to my mother,
>"Christmas presents? Well, anything medieval for the house would
work."
>Then, whenever I visit, I bring a Toscano Replicas or Past Times
catalog
>along, and "leave it behind." for her.

The trouble I have with Past Times, at least in its British version, is
that the 17th century stuff is mostly "inspired by" rather than actual
replicas of objects which could be used for Living History. I have
bought a few presents for non-reenactors there, though.
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On Thu, 13 Nov 2003, Susan wrote:

> Hi all,
> I got a nice regency type costume at a drama school sale.  It is silk/rayon
> velvet - dyed by them in shades of blue (I don't know what they used to dye
> it).  I got it cheap because down the front are several dark brown stains.
> Food possibly. Before I cut it up, I'd like to see if I can get the stains
> out so I can wear it.  Any ideas on what to use?  I've not tried to wash
> silk velvet before, so I am not sure it is even washable. I do not know if
> it has been drycleaned or not.
> 

  Funny you should ask. I just got a whole load of silk/rayon velvet 
scraps from a local woman who makes burn-out velvet clothing...When I 
asked her, she said to just throw it in the washer and dryer. So I did. 
The only problem was the lint, but in the washer and the dryer. THough, I 
think the washer lint was only because they were scraps and not large 
pieces. The lint trap in the dryer was overflowing, though, and I ended 
up vacuuming the whole dryer out. The velvet will come out a bit 
'distressed' looking, but I quickly found out you can iron it too. Just 
use a medium setting and iron the back (using steam), not the front as 
the steam holes in the iron will make marks in the nap.
  I always thought that that type of velvet had to be dry cleaned, but 
this woman swears by washing and drying. Oh, there's a small amount of 
shrinkage, but not much at all.
  As for the spots, I would see if you could test a small area first and 
try some regular detergent (I'm thinking of the dye...), and then if that 
didn't work, I'd try some oxygen bleach, though that again might affect 
the dye.

Kate


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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Ooh, yes - when I saw those distinctive patterned columns I thought
"What on earth are they doing in Durham Cathedral?"

Kate Bunting
Library, University of Derby

>>> anne@montgomerie.demon.co.uk 11/12/03 10:24pm >>>
A terrible case of knowing too much - why is the poor girl living in 
draughty, bare-stone Durham Cathedral, instead of a nice cosy 
wood-panelled palace near London?  
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Subject: [h-cost] Re: costume movies
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>Well, I can't agree with the people who liked the Leonardo diCaprio
"Man in
>the Iron Mask." Awful in every way, IMHO, although I've seen worse.

I have to admit part of the appeal is two words:  Gabriel Burn :).

>Has anyone seen the Richard Chamberlain version? 

Oh Yes!  I still remember the scene of Chamberlain strideing through a
room and with one hand twirling off his cape and tossing it aside.  One
of the better adaptations of the book too.

Catherine
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Hi all,
I got a nice regency type costume at a drama school sale.  It is silk/rayon
velvet - dyed by them in shades of blue (I don't know what they used to dye
it).  I got it cheap because down the front are several dark brown stains.
Food possibly. Before I cut it up, I'd like to see if I can get the stains
out so I can wear it.  Any ideas on what to use?  I've not tried to wash
silk velvet before, so I am not sure it is even washable. I do not know if
it has been drycleaned or not.

As for the Costume movie coming up that I'd like to see - Troy.  I mean,
cute guys in short skirts -even if they make the costumes more complicated
then they need to be, there'll still be something period to look at (men's
legs ;-)

Susan in chilly washington


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At Wed, 12 Nov 2003 13:27:14 -0800, Rima <rima@anet.net> wrote:

>IMHO, Lester's 3/4 M's are some of the best period films ever made...
>...OK, never mind that they diverged a bit from the details of Dumas.... ;-/

Still, of the "Musketeers" movies I've seen, these stayed closest to the 
characters and to the character of the books ("Trois Mousquetaires", "Vingt 
Ans Après", "Le Vicomte de Bragelonne"). If you read carefully, there is 
*SOOOO* much comedy in them, and the characters get drawn increasingly 
broadly in the sequels, until you get Porthos being able to move mountains 
(almost literally) and hold up the roofs of falling caves... Given that the 
length of the original meant having to break "Mousquetaires" in half, it 
made theatrical sense to end the first half on a high note -- making 
D'Artagnan a musketeer much earlier than Dumas made him one.


Brenda
webwarren@earthlink.net



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Subject: Re: [h-cost] Re: elizabeth
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----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Thursday, November 13, 2003 11:37 AM
Subject: [h-cost] Re: elizabeth


> 3) Elizabeth not knowing her lover was married. It's not like the people
at
> court didn't know each other and their families.

Not only did she know Robert was married, I believe I read that she was
present at the wedding!

Inaccuracies aside, I do admit to enjoying the movie. I can generally get
past bad costumes or historical fiction in movies and enjoy the story as
just that... a story being portrayed for my entertainment. If the costumes
are good, that is like frosting! :) It also makes me more likely to buy the
dvd for the ability to freeze frame and drool.

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----- Original Message ----- 
From: "Catherine Kinsey" <Ckinsey@kumc.edu>
To: <h-costume@indra.com>
Sent: Thursday, November 13, 2003 11:56 AM
Subject: [h-cost] Re: costume movies


> I have to admit part of the appeal is two words:  Gabriel Burn :).
>

Ooooh.... Gabriel Byrne......... *pant*  He is on the laminated list in my
wallet! (old timer friends fans will know what I mean!)

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Teena Paradise wrote:

  > Inaccuracies aside, I do admit to enjoying the movie. I can 
generally get
> past bad costumes or historical fiction in movies and enjoy the story as
> just that... a story being portrayed for my entertainment.


If it's being portrayed as a fantasy romp I have a lot less problem with 
it than if the hype is telling me it is a historical piece.  I'm also ok 
with movie adaptations that are true to the book, even if they leave 
parts out, as opposed to ones that change the plot and characters all 
around. I think the LOTR series is a good example of more or less 
following the book without messing with it too much, but adapting the 
story and characters for the screen, even if it is not 100% like the book.

I think I liked _Shakespeare in Love_ more than _Elizabeth_ because I 
knew up front that it was a costume romp and not a real historical event 
they were trying to portray. Same with _Ever After_.

Favorites for being well done and good adaptations are the various 
Regency movies, _Pride and Prejudice_, the Gwyneth Paltrow _Emma_, and 
especially _Persuasion_. Really good movies without producers or 
directors who felt the need to change a story that has stood the test of 
time into something of their own 'vision'.


Dawn



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From h-costume-bounces@indra.com  Thu Nov 13 14:26:26 2003
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I'm going to go ahead and throw my iron into the fire.

I guess I'm just strange in the fact that I don't go to see these movies expecting historical accuracy in either the plot or the costumes. I go because they're fun, and for the most part, they do what they're supposed to. Entertain me. 

I liked Elizabeth. 
I also liked Gladiator and Braveheart...*gasp* 
Last of the Mohicans, Dangerous Beauty, Amadeus, The Lion in Winter, Anne of a Thousand Days
the list goes on...and to totally freak you out...I enjoyed Disney's Three Musketeers. *shock and horror*  now the killing blow...I LIKED A KNIGHT'S TALE! Would I look to it to design my next gown...no...but that doesn't mean I didn't enjoy the movie. If that makes me an idiot, or beneath those who believe that complete cinematic authenticity is the be all and end all of life as we know it..then so be it. But I'm going to go see Timeline....and I'll probably like it grommets, bows and all. 

Yes, I know I'm being rather defensive about this....

Tori


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In a message dated 11/13/2003 11:37:23 AM Eastern Standard Time, 
gailscott@eos.net writes:

> But I think "Valmont" is even better

I find "Valmont" unwatchable. I hate the costumes as much as I do the equally 
unwatchable "Amadeus" [same crew]. I just don't think they get it. I just 
don't like the design choices. "DL" has much more taste though it's not as 
accurate as some would like to claim. The book takes place closer to the Revolution 
and a lot of the gowns and outfits in the movie look very English to me.

And the film "Dangerous Liaisons" is based on a play of the book, not the 
book itself. It was riding on the play's reputation.

Still, it's good to have both and people on both sides of the fence. And I 
don't mean to demean your taste, but do you really like that coat that looks 
like blue willow china in "Valmont" over that black satin embroidered with seed 
pearls and silk in "DL"?
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In a message dated 11/13/2003 11:57:44 AM Eastern Standard Time, 
Ckinsey@kumc.edu writes:

> Well, I can't agree with the people who liked the Leonardo diCaprio
> "Man in
> >the Iron Mask." Awful in every way, IMHO, although I've seen worse.
> 

Now this I can agree with Leo sux. But the clothes he wears don't.
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In a message dated 11/13/2003 12:54:52 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> I think the LOTR series is a good example of more or less 
> following the book without messing with it too much, but adapting the 
> story and characters for the screen, even if it is not 100% like the book.
> 

And it's STILL dull as watching avocado dip turn black. I HATE it.


There, I feel better now.
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In a message dated 11/13/2003 12:54:52 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> especially _Persuasion_. 

Yes. A real sleeper. It has great costumes. "Sense and Sensibility" has 
beautiful, researched costumes with a polished edge [That I certainly don't mind] 
but in "Persuasion" there's a rough, real edge to things that I admire.
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In a message dated 11/13/2003 2:26:32 PM Eastern Standard Time, 
Tori.Ruhl@awin.com writes:

> I LIKED A KNIGHT'S TALE! 

Ouch!


Well, don't worry about it. I mean I liked David Lynch's "Dune"!

I know we've been throwing around opinions here and I certainly am just 
stating my preferences and don't mean to insult anyone. 
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-- Dawn <dawn@reddawn.net> wrote:



I think I liked _Shakespeare in Love_ more than _Elizabeth_ because I 
knew up front that it was a costume romp and not a real historical event they were trying to portray. Same with _Ever After_.

I definitely liked SiL better than 'Eliza-bletch' because inspite of it being a total fiction that never claimed to be anything but, it actually captured Elizabethan England in a much truer form than The Other Elizabethan Movie. SiL had London streets teeming with life, the Queen lived in a palace that was actually livable, people behaved in believable ways given the standards of the time, and the costuming was fab. I even liked Great Bess's peacock ruff which has no historic parallels that I'm aware of. 

I knew the The Other Elizabethan Movie was bad when it had Joseph Fiennes as the love interest and he wasn't sexy or appealing at all inspite of being waaaaaay hot in SiL. And poor old Walsingham must have been a veritable tornado in his grave, imagine that stanch old Puritan dallying with the dowager Queen of Scotland and then offing her himself!! Good heavens, he had people for that sort of thing!!! Should I mention that Walsingham wasn't even working for the queen that early in her reign or just content myself with the fact that there's no way he could have gotten close to the DQS without everyone in HER court knowing and most of the French Court as well so that when she turned up dead they'd know exactly who had done it?

How about the absurdity of a crossbow wielding assassin hiding in a tree and trying to hit the Queen across a lake at night thru a curtain? I had no idea they had laserguided nightscopes back that far. Should we tell them that crossbows aren't actually exactly like high powered rifles or just let them wallow in their ignorance? And that re-loading thing will be a real pain in a place with no leverage....

We've covered the stupid poison dress thing (an excellent reason to wear a shift under your dress now isn't it?), the living in a drafty old cathedral thing, and the Queen as icon of Mary the Mother....I think the scene of her cutting her hair off was supposed to mimic the martyr being shorn of her hair at the beginning of the movie, but the utter wrongness of the analogy could only have been created by someone with a tentative grasp of both Catholicism and the Reformation in England. As was previously stated.

And then we have the scene where Robert Dudley lectures Elizabeth on acting like a queen....huh??!!! I don't think that anyone ever had to lecture Elizabeth on that after the age of 9, but if anyone did it certainly wasn't Dudley!

To me the crowning insult to the whole thing was that they actually made 'educational packets' and sent them around to schools to use in conjunction with the movie which they presented as an accurate retelling of Elizabethan history. I saw the 'official packets'. 


Getting down off the soapbox,

Karen





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Sorry for the double postings. AOL is being weird. It seems to be sending a 
copy of my post before and then after the spellchecker. Go figure.....

I've closed down AOL and started it back up. We'll see how many of this one 
gets posted.
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----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Thursday, November 13, 2003 3:18 PM
Subject: Re: [h-cost] Re: elizabeth


> In a message dated 11/13/2003 12:54:52 PM Eastern Standard Time,
> dawn@reddawn.net writes:
>
> > I think the LOTR series is a good example of more or less
> > following the book without messing with it too much, but adapting the
> > story and characters for the screen, even if it is not 100% like the
book.
> >
>
> And it's STILL dull as watching avocado dip turn black. I HATE it.

I don't like the casting (well, Frodo, for instance, Elijah Wood couldn't
act his way out of a paper bag, but I love Merry and Pippin) and the
computerized elements just don't cut it for me. Those Ents are all wrong!
They look entirely too spindly. Also don't care for Liv Tyler..
And the messing that WAS done with the books was entirely unnecessary.

That said, I will go see the third one--because the local SCA shire will
likely go in a pack, and that will add an element of fun.

Dianne
>
>
> There, I feel better now.
> _______________________________________________
> h-costume mailing list
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Subject: Re: [h-cost] Re: elizabeth
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What's interesting to me about Elizabeth is that everyone seems mad that it is not historically accurate.  The information about packets distributed to schools is particularly surprising to me, because if you listen to the director's commentary, it's very clear he is not trying to do a biopic, but rather a dramatic story "based on" the life of Elizabeth.  Timeframes are compressed, characters combined, and some stuff entirely made up.  When you listen to the director, he is totally unapologetic about this, and actually points out with delight the things that ARE historically accurate.  
 
I strongly recommend the director's commentary for anyone who is fascinated by the craft of filmmaking -- it is like a directing class tutorial -- he explains all his choices.
 
I prefer to look at Elizabeth as a fantasy on Elizabeth's life, examining the question -- what would it take to transform a young girl into the powerful leader she became?  What would it do to her?  How would she need to change?  etc etc.  I think that is fascinating.  If you didn't know it was about a real person, it would simply be a dramatic, compelling story.
 
As such, I like this movie very much, as a sort of emotional impressionistic portrait of Elizabeth...
 
--Jen Small

seamstrix@juno.com wrote:



-- Dawn wrote:



I think I liked _Shakespeare in Love_ more than _Elizabeth_ because I 
knew up front that it was a costume romp and not a real historical event they were trying to portray. Same with _Ever After_.

I definitely liked SiL better than 'Eliza-bletch' because inspite of it being a total fiction that never claimed to be anything but, it actually captured Elizabethan England in a much truer form than The Other Elizabethan Movie. SiL had London streets teeming with life, the Queen lived in a palace that was actually livable, people behaved in believable ways given the standards of the time, and the costuming was fab. I even liked Great Bess's peacock ruff which has no historic parallels that I'm aware of. 

I knew the The Other Elizabethan Movie was bad when it had Joseph Fiennes as the love interest and he wasn't sexy or appealing at all inspite of being waaaaaay hot in SiL. And poor old Walsingham must have been a veritable tornado in his grave, imagine that stanch old Puritan dallying with the dowager Queen of Scotland and then offing her himself!! Good heavens, he had people for that sort of thing!!! Should I mention that Walsingham wasn't even working for the queen that early in her reign or just content myself with the fact that there's no way he could have gotten close to the DQS without everyone in HER court knowing and most of the French Court as well so that when she turned up dead they'd know exactly who had done it?

How about the absurdity of a crossbow wielding assassin hiding in a tree and trying to hit the Queen across a lake at night thru a curtain? I had no idea they had laserguided nightscopes back that far. Should we tell them that crossbows aren't actually exactly like high powered rifles or just let them wallow in their ignorance? And that re-loading thing will be a real pain in a place with no leverage....

We've covered the stupid poison dress thing (an excellent reason to wear a shift under your dress now isn't it?), the living in a drafty old cathedral thing, and the Queen as icon of Mary the Mother....I think the scene of her cutting her hair off was supposed to mimic the martyr being shorn of her hair at the beginning of the movie, but the utter wrongness of the analogy could only have been created by someone with a tentative grasp of both Catholicism and the Reformation in England. As was previously stated.

And then we have the scene where Robert Dudley lectures Elizabeth on acting like a queen....huh??!!! I don't think that anyone ever had to lecture Elizabeth on that after the age of 9, but if anyone did it certainly wasn't Dudley!

To me the crowning insult to the whole thing was that they actually made 'educational packets' and sent them around to schools to use in conjunction with the movie which they presented as an accurate retelling of Elizabethan history. I saw the 'official packets'. 


Getting down off the soapbox,

Karen





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> I will share my top three reasons for thinking the movie is not good:

Actually, those reasons you mention are all the things in the movie I didn't
really pay attention to :-) I didn't even remember there was a "poison
dress" in there. I rarely pay attention to love intrigue and most of the
times I fast-forward sex scenes (not because  they make me uncomfortable,
just because they're usually totally useless to the plot and often boring
and stereotyped). I never, ever trust movies for representing faithfully
historical events - in fact, I now rarely trust even books - so that's not
even the beginning of a god/bad movie criteria for me - in fact, it could
have been any other queen than Elizabeth and it wouldn't have made any
difference to me (except for the time period).

Maybe that's why I often get confused as to what is really happening in a
movie. The "important" details seem uninteresting. I like "mood" more than
contents, and I usually don't like romance. I remember costumes and mental
images of strong moments and some scenes. I can rarely retell a movie, even
if I can always retell a book in detail.

Your reasons for not liking the move are all good. I guess I just didn't
take it as a serious endeavour to represent what might actually have
happened :-) Well, at least there were a lot of men in full Elizabethan!
(Though I think there were more of these in Dangerous Beauty)
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Subject: Re: [h-cost] Costuming in movies rant
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> It's funny, how a movie can have spot-on costume, but the hair and makeup
> will be fabulously modern. Especially for the leading actors/actresses.

Oh, this is very noticeable in Star Trek! Hair is right in the time period.
And all those girls in the mini-skirts in the first series... You can even
compare the evolution between the first and last seasons of the same serie,
and see the hairstyles changing to follow current fashion - even on aliens!

And then you can compare 7 of 9 (Voyager) and T'Pal (Enterprise). They have
the same basic form-fitting outfit, BUT the fashion for low waisted pants
has gone crazy in the few years between the two series, so while 7 of 9 had
her belt about around the tips of her hipbones, TPal's belt is almost on her
butt because it's so low!
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Subject: LOTR was: Re: [h-cost] Re: elizabeth
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> I think the LOTR series is a good example of more or less
> following the book without messing with it too much, but adapting the
> story and characters for the screen, even if it is not 100% like the book.

Oh NO. They really betrayed some basic things of Tolkien's universe. The
first movie was fine, whatever they changed actually made sense in Tolkien's
world. But they totally messed up the second one. They didn't respect the
characters or the rules of that world, and that had me really, really mad at
them, because I actually loved the first movie and thought the second one
would be as good as the first one. Cast of characters and costumes do fit
nicely with my vision of the whole thing, by the way.

Things below are not in order of importance

1) Gandalf never says where he goes and how long he'll be gone. That's one
of the things that make him unpopular with the king. And there he goes in
the movie and says something along the lines of "Look for me in two days at
sunrise"... This goes against all that we know of Gandalf.

2) The Elves of Elrond have absolutely nothing to do at Helm's Deep. They
couldn't care less what happens to humans. Their time in Middle-Earth is
done and the time of Man is coming, so they're leaving, not coming to the
help of some gang of humans who live several days, if not weeks, away from
them. Anyway, they wouldn't have been welcome there, because Men are afraid
of Elves - they consider them stuff of legends, and treacherous.

3) There were no women or children at Helm's Deep. They had been sent to
shelters in the mountains before the attack. Of course, it makes things more
dramatic, but it doesn't make sense. It's one of the things I wouldn't have
bothered criticizing if it hadn't been added to a bunch of other bad things.

4) Treebeard knows trees are being cut. In the movie, he learns that trees
have been cut only when he comes right before them. But treebeard is
guardian of the trees, and the whole forest has a kind of "awareness". There
is no way this number of trees could have been cut without their knowledge.

5) Arwen doesn't go to the Grey Heavens. That nonsense was probably added to
give Ms Tyler more screentime.

6) There is no real magic in Tolkien's world. Well.. there is some in Bilbo
(it was meant as a children's book) but it disappears in LotR. So the kind
of magic nonsense that Gandalf performs on Theoden and his spectacular
transformation is totally opposed to the meaning of the book. Theoden was
just very hopeless and brooding, and Gandalf brought him a ray of hope.
That's all there is to it in the book.

7) Then there's that stupid scene where the half-dead Aragorn is being
picked up by his horse...

8) Gimli making a fool of himself - we're not in D&D fantasy here! Dwarves
are extremely polite, extremely proud of their beards. They wouldn't go
about slurping and dribbling beer all over themselves in front of a King!!
And then Gimly was bouncing up and down for some VERY misplaced coming
relief.

9) And don't get me started on these stupid dreams Aragorn has about Arwen
all the time...

After all that happened, I told myself the movie could still be saved, if
only... but no, they had to:
10) Totally messed up Faramir's character. Faramir is my favourite character
of the whole movie. He's the gentle, wise, educated brother of Boromir. They
made him rash, hard and had him drag Frodo all the way to Osgiliath (several
days further - there is no way they could have gone that far and walk back
again in the little time they had), while he was supposed to be Gandalf's
friend and help him out.

That last thing did it for me. I stopped watching what happened after that.
In fact, I barely remember the end of the movie, I was SO mad.

I'm sure I'm forgetting many things that went wrong. But suffice to say that
I think Peter Jackson seriously betrayed Tolkien's universe in this second
part of LOTR.
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Costume Movies
Date: Thu, 13 Nov 2003 16:57:54 -0600
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I guess I'm just strange in the fact that I don't go to see these movies
expecting historical accuracy in either the plot or the costumes.

Who does?  But ain't it fun to play real history vs what's up on screen on
one level while you are enjoying the movie. Or not. And while I was watching
"Braveheart"(which I went to because it was a "MelMovie"--the historical
setting was just a bonus) I could also admire the great cutting in the
battle scenes where you think you see more than you do, while of course,
rooting for Mel!

Then you and/or your friends rewrite the whole movie and redo the costumes
on the way home(and recheck your personal costume source library when you do
get home to confirm you were right!

Cindy Abel

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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] 
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Kate, I went to school at Smith and I seem to remember trying to get
involved with a Victorian dance group out in that area.  (Turned out
disastrously, but that was some years ago and I was not so clued in then as
I am now).  I can try to dig up some more information if that's something
you might be interested in.

Maura Burns    

  Maura,

  Yes, that would be something I"m interested in. I'm more into the 
costuming part at the moment, but am dying to get together with people 
who are interested in anything similar. I actually like in Northampton 
and can check it out here...can you recommend a particular person I 
should approach?

  Thanks!

  Kate


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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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> 5) Arwen doesn't go to the Grey Heavens. That nonsense was probably added
to
> give Ms Tyler more screentime.

I will say just one thing here, various contracts had elements that said she
had to be in certain movies. Not all casting or screen time is dependant on
the director.... (some of the actors on the movie can be very loose with
their lips on this type of subject;))

> I'm sure I'm forgetting many things that went wrong. But suffice to say
that
> I think Peter Jackson seriously betrayed Tolkien's universe in this second
> part of LOTR.

Again, don't just blame the director. Although I was a bit surprised by
things I heard in regards to making some characters more prominant.. at a
time when actors for other characters hadn't turned up yet, but where those
characters are known to be more.. active.

Movies are the result of a huge machine not one person, and don't forget the
power of test screenings. They can totally alter how a movie is finished.

I personally enjoyed the 2nd movie more, probably because I found the books
really difficult to get through and there were only a few characters I could
get into the skin of. I dropped the book as soon as Eowyn was taken away...
I didn't realise there was more of course;) but I was just annoyed.

I can now go through the books to read passages quite happily now that I can
differenciate the characters. And I don't have the actors in my head when I
do read through the books which is nice.

But then I did have the same trouble with Emma. After seeing the recentish
BBC version I can read the book and keep track of what's going on. Again I
don't have the actors in my head as the characters too.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] stain help
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>   I always thought that that type of velvet had to be dry cleaned, but
> this woman swears by washing and drying. Oh, there's a small amount of
> shrinkage, but not much at all.

I tend to wash everything on cold, using spot cleaners on stains etc and
using detergents specifically for cold washes.

If you have the outdoor space, drying in on a washing line helps.. or rather
hanging it out on a rainy day and then letting it dry out there brings up
the pile again.

Someone mentioned this on another list and people cried out about it;) But
it works. Even for heavy cotton velvet. It gets rid of wrinkles:)

michaela
http://costumes.glittersweet.com


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In a message dated 11/13/2003 4:44:39 PM Eastern Standard Time, 
jenrsmall@yahoo.com writes:

> As such, I like this movie very much, as a sort of emotional 
> impressionistic portrait of Elizabeth...
> 

Interesting take.

I saw it as this dark Gothic tale.....and then wondered why they put any 
historical slant on it. They shoulda just made the persons in it up too. A made up 
country and made up Renn. Queen.

But still, as it is, it's a fun movie. 

BTW....I HATE the men's stuff. Yuk!
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In a message dated 11/13/2003 4:45:46 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> I fast-forward sex scenes (not because  they make me uncomfortable,
> just because they're usually totally useless to the plot and often boring
> and stereotyped).

Uh.... don't do this with:

Women in Love
Blue Velvet
Dr. Zhivago
Howard's End
Wings of the Dove
ect.
ect.
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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In a message dated 11/13/2003 5:19:02 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> Oh NO. They really betrayed some basic things of Tolkien's universe. 

Wait....I thought you didn't pay attention to details.....
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Subject: [h-cost] Re: costume movies
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>Well, I can't agree with the people who liked the Leonardo diCaprio "Man in
>the Iron Mask." Awful in every way, IMHO, although I've seen worse. Has
>anyone seen the Richard Chamberlain version? It's not as good as the 1970s
>Three Musketeers movies, but it's kind of a lame imitation and so worth
>watching. Richard Chamberlain, of course, looks excellent. And the dancing
>(one of my pet peeves in historical movies) actually RESEMBLEs period
>dancing, although only vaguely.

I'm with you!   Both "Iron Masks" diverged quite a bit from the Dumas 
stories, but I found the Leo version unwatchable (except for the few 
moments when Irons and Byrne were alone together, valiantly trying to 
drag the film uphill!)   Chamberlain version is lovely, if not 
accurate - remember it was made for TV, and they had NO money and NO 
time!   And RC is ALWAYS preferable to Surf-Accent Leo in a period 
film where they actually let him say, "you're gonna wear it, and 
you're gonna love it!"   Woulda thrown something at the screen at 
that moment, but my hubby wisely restrained me.  *sigh*

>While we're on the subject -- someone mentioned "Dangerous Liaisons" as a
>good costume movie. It is good, although it changed the book quite a bit.
>But I think "Valmont" is even better, although it changed the book in a
>completely different way. But it's a more rollicking movie, if you like to
>see rollicking 18th-century stuff.

I'm with you on that one too....

Rima
movies movies movies
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Greetings--

> I saw it as this dark Gothic tale.....and then wondered why they put any
> historical slant on it. They shoulda just made the persons in it up too. A
made up
> country and made up Renn. Queen.

That would have made more sense...

> But still, as it is, it's a fun movie.

Copious historical problems aside, I just didn't find it all that
compelling, despite a wonderful performance by Cate Blanchett. I completely
bought her as Elizabeth.

> BTW....I HATE the men's stuff. Yuk!

Joseph Fiennes looked like he was wearing his leftover shirts from
Shakespeare in Love. And he was given very little to do other than sit
around and look moody.

Susan

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>   now the killing blow...I LIKED A KNIGHT'S TALE! <grin>
>Yes, I know I'm being rather defensive about this....
>
>Tori

Hey, we all have our dirty pleasure movies....   I could see where 
Knights Tale would end up on someone's list.   It's adorable, as long 
as you don't think it's historical.  ;-D

Rima
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Other reasons I hated "Elizabeth"  (Besides those listed by others) were that "they", be it producers, marketers or whomever, touted the fact that they had 6 historians working together with the screenwriter and director-which to me means someone was claiming it to be historically accurate.  Nothing could be further from the truth.  (The earl of Sussex a catholic conspirator!!!)  Also, the costume designer said in a couple interviews that she was seizing the opportunity to portray the "at home" type of clothing they might have worn and that she basically had to invent it because nobody really has any idea what that was.  Or perhaps SHE didn't have any idea what that was, which would explain the costumes.  The gown Elizabeth wears in the scene where Anjou arrives from his boat and proceeds to whisper vulgar insults into her ear particularly stands out in my mind as shockingly bad, second only to the hat she's wearing with it.  I have a fuzzy recollection of a beaded indian go!
 wn
 somewhere nearish to the end as well.  Oh,and the maids of honor with the big red sashes on their backs-there's something I've seen repeated at RenFaires ever since.   And if you're going to have them dance La Volta, why not actually do it right rather than throwing in all that flamenco?  I suppose it was more dramatic with the finger snapping, clapping and hip thrusts to someone unfamiliar or unconcerned about the time period.  

Also there's the perhaps unfair fact that I thought Attenborough was a painfully poor Burghley and Cate Blanchett is such a "nostril" actress.  

One caveat, though, I thought the beginning sequence with Mary Tudor was fantastic.

I have to agree with those who preferred "Shakespeare In Love" simply because it never claimed to be more than what it was.  "Elizabeth" just for me had no redeeming features, bad acting, bad history, bad costuming.  


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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On Thu, 13 Nov 2003, Jennifer Fleury wrote:

<on "Elizabeth">

> Also, the costume designer said in a couple interviews that she was
> seizing the opportunity to portray the "at home" type of clothing they
> might have worn and that she basically had to invent it because nobody
> really has any idea what that was.  Or perhaps SHE didn't have any
> idea what that was, which would explain the costumes.

Back when the movie first came out, someone posted a link to (or
description of?) an interview with the costume designer, in which she said
that the director forbade her to consult reference books because he wanted
her ideas to be fresh and new. Something about him grabbing the books out
of her hand and taking them away.

(I can just imagine what my reaction to that would be. "I don't care if
you are my boss, that Janet Arnold book cost me $150 and it's out of
print, and if you destroy it you're going to replace it even if it means
you'll have to pay for a reprinting!")

Or am I thinking of a different movie?

As for "at-home" dress, I recall that Elizabeth sometimes received
visitors in her bedroom, dressed in some degree of underwear. And there
were dressing-gowns and less-formal ensembles. But they certainly didn't
have an equivalent to jeans and t-shirts at that class level, and the men
didn't walk around court in their shirts. Perhaps the designer should have
done up full Elizabethans in blue denim. (I once saw a production of a
17th c. play in which the costume designer used period cuts and clothing,
but modern fabrics that had instant significance to the audience -- denim,
black leather, etc. Yes, it was weird.)

--Robin


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To me the crowning insult to the whole thing was that they actually made
'educational packets' and sent them around to schools to use in conjunction
with the movie which they presented as an accurate retelling of Elizabethan
history. I saw the 'official packets'.


Getting down off the soapbox,

Karen

	- I could forgive them anything but this! I'm usually pretty good at
suspending disbelief and I actually enjoy this movie. However, IMHO clearly
aiming this film at the educational market crosses a line, not for it's
costumes but for it's tortured history. For school, I think they should
worry about getting the basic story down, and if they can get the costumes
right it's gravy.

	- Allison T.

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> I LIKED A KNIGHT'S TALE!

You are not alone.
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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> > Oh NO. They really betrayed some basic things of Tolkien's universe.
>
> Wait....I thought you didn't pay attention to details.....

In MOVIES. That one was a BOOK before being a movie, and I do crave details
in books :-)

And I read it 9 times, so I think I remember a lot of things fairly well...
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> > I fast-forward sex scenes (not because  they make me uncomfortable,
> > just because they're usually totally useless to the plot and often
boring
> > and stereotyped).
>
> Uh.... don't do this with:
>
> Women in Love
> Blue Velvet
> Dr. Zhivago
> Howard's End
> Wings of the Dove
> ect.
> ect.

Sorry, I haven't seen any of those. Maybe I should :-)
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Costuming in movies rant
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On Thursday 13 November 2003 10:52 am, Drea Leed wrote:
> For me, hair is the easiest and quickest way to date a movie. I don't know
> how or why, but my subconscious picks up and dates hairstyles more quickly
> than costume...especially for movies made in the past 30 years.
>
> It's funny, how a movie can have spot-on costume, but the hair and makeup
> will be fabulously modern. Especially for the leading actors/actresses.


"Hollywood and History" pointed this out.  As you say, it's truest of the 
leads, particularly the female lead (sometimes they let the male lead have a 
hairstyle that's more truly period, especially if he's not the heartthrob 
type).

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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In a message dated 11/13/2003 10:02:26 PM Eastern Standard Time, 
robin@shell.nightowl.net writes:

> denim,
> black leather, etc. Yes, it was weird.)
> 

Especially since indigo dyed cotton twill [denim] has been around since the 
19th century and black leather since the stone age.
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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In a message dated 11/13/2003 10:20:45 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> And I read it 9 times

How many times have you read "Le morte d'Arthur"?
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In a message dated 11/13/2003 10:21:37 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> Maybe I should :-)
> 

Yes you should!!!! You've never seen "Dr Zhivago"??? Yikes! What a treat you 
have in store! All the others too....though "Blue Velvet" is a very disturbing 
yet fantastic film.
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From: "Tori Ruhl" <Tori.Ruhl@awin.com>
>I guess I'm just strange in the fact that I don't go to see these movies
>expecting historical accuracy in either the plot or the costumes. I go 
>because
>they're fun, and for the most part, they do what they're supposed to. 
>Entertain
>me...

Actually I tend to agree (and hope I've been clear on this).  I don't care 
if things aren't perfectly accurate - my major objection with Timeline is 
that the producers have clearly missed the point of the book (OTOH looking 
at many of the reviews of the book, clearly they weren't the only ones).  I 
would prefer it if there was some attempt to be vaguely accurate, but I 
don't expect to see it, and am not dissapointed when it doesn't appear.   I 
certainly haven't been suggesting that people not go to Timeline (or any 
other such movie), I just don't think people should waste their time if they 
are expecting accuracy.  When I go to see Timeline, I'm going to watch a 
fantasy movie that happens to share a title and some plot points with a book 
I enjoyed.

Marc

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Subject: Re: [h-cost] Costume Movies
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It's kinda funny we've been complaining about inaccuracies in film costuming 
but fantasy films have been the main films discussed. LOTR has no historical 
president. The only reason it gets a Dark Age treatment is it mimics Norse and 
Christian legends usually put to paper in those years, but you could put them 
all in boots and miniskirts [I wouldn't] and it would not be periodly 
inaccurate....there is no period. Just the suggestion of one. Remember "Legend"? Awful 
movie but great costumes. I loved the black wedding dress.

Let's see. What are some other good inaccurate films that actually are 
enhanced by their inaccuracies? "Sleepy Hollow" comes 1st to mind. Great clothes but 
not exactly true to the 1790s. "Shakespeare in Love" would fit here too. How 
about "Satyricon"?

Then there're films like "Brazil" and "Blade Runner" and even that "Dune" I 
like. Futuristic but given a period flare. All three interesting costume 
solutions.
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Subject: Re: [h-cost] Costume Movies
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In a message dated 11/14/2003 1:23:23 AM Eastern Standard Time, 
AlbertCat@aol.com writes:

> LOTR has no historical 
> president.

Not a Washington or Lincoln in the whole thing!

That's:

LOTR has no historical precedent.


Sorry....
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From: "Linda Walton" <linda.walton@dsl.pipex.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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Dear Historic Costumers,

(snip)

> > 5) Arwen doesn't go to the Grey Heavens. That nonsense was probably
added
> > to give Ms Tyler more screentime.
>
> I will say just one thing here, various contracts had elements that said
she
> had to be in certain movies. Not all casting or screen time is dependant
on
> the director.... (some of the actors on the movie can be very loose with
> their lips on this type of subject;))
>
> > I'm sure I'm forgetting many things that went wrong. But suffice to say
that
> > I think Peter Jackson seriously betrayed Tolkien's universe in this
second
> > part of LOTR.
>
> Again, don't just blame the director. Although I was a bit surprised by
> things I heard in regards to making some characters more prominant.. at a
> time when actors for other characters hadn't turned up yet, but where
those
> characters are known to be more.. active.
>
> Movies are the result of a huge machine not one person, and don't forget
the
> power of test screenings. They can totally alter how a movie is finished.
> (snip)

So is that why it seems to have been decided to cut Saruman out of the third
film?  (Like Christopher Lee - I'm very shocked.)

And while we're talking about this trilogy of films, has anyone seen the
exhibition of costumes and props in London?  (As I'm rather disabled, the
journey will be quite an undertaking for me, even though it's not too far,
so I'd like to have some confidence that it'll be worth the effort.)

Many thanks,
Linda Walton.

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> So is that why it seems to have been decided to cut Saruman out of the
third
> film?  (Like Christopher Lee - I'm very shocked.)

Yes, I heard that just after my email.. I was rather shocked.. more from the
reasoning for it being cut (if it doesn't work then why include it in the
dvd version?)

> And while we're talking about this trilogy of films, has anyone seen the
> exhibition of costumes and props in London?  (As I'm rather disabled, the
> journey will be quite an undertaking for me, even though it's not too far,
> so I'd like to have some confidence that it'll be worth the effort.)

I saw it at the Te Papa exhibit. I found the lighting to be very dim and it
was quite difficult to see some of the costumes.

It depends on what your interest is. I was overwhelmed by the amount of
armour, but there was a heck of a lot of it, and you may have some questions
answered if you do have questions about it. I learnt more afterwards as I
got to handle the maille and scales etc somewhere else.

The costumes aren't terribly numerous, but Saruman's robes are really rather
tasty and there is still mud on Arwen's riding costume (probably Hollywood
mud;) ) Gandalf the grey's costume is there, as are all the Fellowship's
costumes. I couldn't tell if they were before or after the cloaks they were
given.. I suspect before... as I don't remember *the* cloaks...

There are numerous smaller props and jewellery items.

It's pretty big, especially if you watch all the videos at each station...
though they are very interesting

I spent 3 hours there as I love the behind the scenes of the film industry
(even if being involved can be infuriating;) )

michaela
http://costumes.glittersweet.com


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Linda Walton wrote:
> And while we're talking about this trilogy of films, has anyone seen the
> exhibition of costumes and props in London?  (As I'm rather disabled, the
> journey will be quite an undertaking for me, even though it's not too far,
> so I'd like to have some confidence that it'll be worth the effort.)

	If you go to 
<http://www.alleycatscratch.com/lotr/Exhibit/Traveling.htm> 
you can see some reviews from a few people who have been to 
it both in New Zealand and in London (click on the small 
text links at the top bar). There should be another review 
going up sometime weekend. I can look for the link at TORn 
for the costume pics if you'd like.


	-Judy Mitchell

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I'd add "Forever After" to that list.  And "Pirates of the Caribbean."
--sue

AlbertCat@aol.com wrote:
> <snipped>
> Let's see. What are some other good inaccurate films that actually are
> enhanced by their inaccuracies? "Sleepy Hollow" comes 1st to mind. Great clothes but
> not exactly true to the 1790s. "Shakespeare in Love" would fit here too. How
> about "Satyricon"?
> 
> Then there're films like "Brazil" and "Blade Runner" and even that "Dune" I
> like. Futuristic but given a period flare. All three interesting costume
> solutions.
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Subject: Re: Re: [h-cost] Time travel and musketeers
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When I saw "The Three Musketeers" when it first came out, I was disappointed that the few genuinely dramatic moments were played down in favour of comedy - but perhaps that was just youthful idealism on my part.


Kate Bunting
Library, University of Derby

>>> webwarren@earthlink.net 11/13/03 04:50pm >>>

>Still, of the "Musketeers" movies I've seen, these stayed closest to the 
>characters and to the character of the books ("Trois Mousquetaires", "Vingt 
>Ans Après", "Le Vicomte de Bragelonne"). If you read carefully, there is 
>*SOOOO* much comedy in them...


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Costuming in movies rant
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Cathy Raymond wrote:
> "Hollywood and History" pointed this out.  As you say, it's truest of the 
> leads, particularly the female lead (sometimes they let the male lead have a 
> hairstyle that's more truly period, especially if he's not the heartthrob 
> type).

One of my favourite examples of the leads getting away with bad costume
is "Dangerous Beauty", in which the male lead wears modern trousers and
everyone else wears venetian breeches as are appropriate to the time and
place.

K.

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: LOTR was: Re: [h-cost] Re: elizabeth
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Well, I've only read LOTR about 3 times, and that was a long time ago,
but personally I found it quite acceptable that the films make more of
Aragorn's love for Arwen. Tolkien hints at it so obliquely that it's
easy to miss on a first reading, and then we're suddenly told in Book 3
that they are going to be married! The first time I read it I thought
that Eowyn was going to be the romantic interest.

Kate Bunting
Library, University of Derby
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Subject: [h-cost] Edwardian corsetry
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I am researching the shooting of the Russian royal family in 1918:  as you 
may know, the bodies of the women (the Empress and her four adult daughters) 
were found to be partially protected by corsets stuffed with diamond 
jewellery -- the bullets were said to have ricocheted off their bodies.

My questions to historical costume experts are this:  how might an Edwardian 
corset have been padded with jewels?  What would have been the effect on the 
person wearing it given that around 4 lbs of jewels were in each corset?  
Also, what other undergarments would the women have worn?  They were wearing 
'travelling suits' of dark blue cloth:  what might these have been like, and 
what would have been worn underneath?

I'd be more than grateful for any hints.  With thanks in advance

Wendy.

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I didn't say the costumes were better in "Valmont," I said I liked the movie
better than DL. And while DL was a movie version of the play (itself a
version of the book), it had a different ending than the play. Which had a
different ending from the book. And of course Valmont had a different ending
too -- much kinder than all the rest of them, especially the book, which was
purposefully nasty! Anyway, I thought it was a more entertaining movie, and
as a costume drama, it made the time period (historically accurate or not)
look very different from the way DL portrayed it.

I don't care about costume accuracy as much as script. If I have to have one
or the other (and usually I do), I'll take a good plot and good acting over
good costumes. "A Knight's Tale" is one of my favorite movies, but not for
the costumes! It is nice to have a "Persuasion" every now and then -- when
you get both.

Gail Finke

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I remember reading at the time that the director didn't have any interest in
historical accuracy. At least, unlike Oliver Stone, he didn't try to say he
was telling the "real story." But some people at the studio did say so. And
if one isn't trying for reality, one should at least try for plausibility!
Geez! I enjoyed watching the movie because it was so stupid, and it was very
pretty. I don't know how British people feel about it, but if someone made a
movie about, say, Abraham Lincoln's life and invented that much (making Mary
Todd Lincoln a seducing, murdering spy, for instance, or having Lincoln's
son assassinated by a poison lollypop -- or, hey this is a good one, having
the famous ghost of Lincoln pop up all the time!) we Americans would be
howling in the aisles.

And as for exploring what power would do to a young woman -- the director
should have picked some other young woman. Any resemblance to Elizabeth's
actual self was purely accidental. Why invent a different one? Why not just
tell a different story?

Gail Finke

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From: "Teena Paradise" <bkessinger@ureach.com>
To: "Historical Costume" <h-costume@indra.com>
References: <BBD987C4.C41D%gailscott@eos.net>
Subject: Re: [h-cost] Re: valmont
Date: Fri, 14 Nov 2003 10:16:47 -0500
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I stayed out of this discussion until now, but as DL is one of my favorite
movies both for the story and the costumes, I will put in my 2 cents. There
will never be a day (for me at least) where Annette Benning's portrayal of
the Marquise de Merteuil can hold a candle to Glenn Close's performance. I
just didn't believe her in the role. Further, as much as I love Colin Firth,
John Malkovitch was at his peak in that movie and was mesmerizing. Did I
enjoy Valmont? Yes, but for me it was no match for Dangerous Liaisons.

----- Original Message ----- 
From: "Gail & Scott Finke" <gailscott@eos.net>
To: <h-costume@indra.com>
Sent: Friday, November 14, 2003 10:05 AM
Subject: [h-cost] Re: valmont


>
>
> I didn't say the costumes were better in "Valmont," I said I liked the
movie
> better than DL. And while DL was a movie version of the play (itself a
> version of the book), it had a different ending than the play. Which had a
> different ending from the book. And of course Valmont had a different
ending
> too -- much kinder than all the rest of them, especially the book, which
was
> purposefully nasty! Anyway, I thought it was a more entertaining movie,
and
> as a costume drama, it made the time period (historically accurate or not)
> look very different from the way DL portrayed it.
>
> I don't care about costume accuracy as much as script. If I have to have
one
> or the other (and usually I do), I'll take a good plot and good acting
over
> good costumes. "A Knight's Tale" is one of my favorite movies, but not for
> the costumes! It is nice to have a "Persuasion" every now and then -- when
> you get both.
>
> Gail Finke
>
> _______________________________________________
> 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 Nov 14 10:36:37 2003
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I absolutely love the clothing of the period in florence and venice. Is Dupioni silk appropriate for the era? I'd like to use it for my gown. Camacia is lightweight linen I'd like to be as historically accurate as possible, allowing for budget and the desert climate of extreme lower Arizona. Thank you, (again) Angelique


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From h-costume-bounces@indra.com  Fri Nov 14 10:39:53 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Lady's purse (christmas gift)
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Hello.
I have added new things to my website, a lady's embroidered purse wich is
going to be a christmas gift for a friend,
http://www.my-drewscostumes.dk/purse.htm
 and i have also added new progress to the new embroidered suit i am making.
http://www.my-drewscostumes.dk/chenillesuit.htm
I have not started to embroider the jacket yeat, but i started to "warm up"
with an extra waistcoat for the suit with a wreath of wild briars. I am in
an embroidery freak state of mind :-)

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Bjarne, can I be your friend too? ;-)
----- Original Message ----- 
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Friday, November 14, 2003 10:42 AM
Subject: [h-cost] Lady's purse (christmas gift)


> Hello.
> I have added new things to my website, a lady's embroidered purse wich is
> going to be a christmas gift for a friend,
> http://www.my-drewscostumes.dk/purse.htm
>  and i have also added new progress to the new embroidered suit i am
making.
> http://www.my-drewscostumes.dk/chenillesuit.htm
> I have not started to embroider the jacket yeat, but i started to "warm
up"
> with an extra waistcoat for the suit with a wreath of wild briars. I am in
> an embroidery freak state of mind :-)
>
> 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  Fri Nov 14 10:48:32 2003
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Date: Fri, 14 Nov 2003 10:47:51 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] florence or venice 1520-1560 period fabric
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Hey there...  my .02

         While there is some evidence supporting the creation of a silk 
similar to dupioni - Luca Mola's book on the Venetian silk industry - the 
evidence suggests that the material was specifically a fabric for 'domestic 
use'  and not a good enough quality fabric for fashion or export.

Closer fabrics to the original would be if you could find a tuxedo satin 
silk (high gloss finish) ,  or a silk twill (non-high gloss finish)
Good luck.
Bridgette

>I absolutely love the clothing of the period in florence and venice. Is 
>Dupioni silk appropriate for the era? I'd like to use it for my gown. 
>Camacia is lightweight linen I'd like to be as historically accurate as 
>possible, allowing for budget and the desert climate of extreme lower 
>Arizona. Thank you, (again) Angelique



Mari Stewart
Cornell University


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Date: Fri, 14 Nov 2003 07:49:21 -0800
Subject: Re: [h-cost] Re: elizabeth
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From: Sarah <sarah@modehistorique.com>
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Status: RO

> I don't know how British people feel about it, but if someone made a
> movie about, say, Abraham Lincoln's life and invented that much 
> (making Mary
> Todd Lincoln a seducing, murdering spy, for instance, or having 
> Lincoln's
> son assassinated by a poison lollypop -- or, hey this is a good one, 
> having
> the famous ghost of Lincoln pop up all the time!) we Americans would be
> howling in the aisles.

Honestly, with as much as the Teeming Millions know about their 
country's history, and despite the best efforts of PBS, all of these 
"plot points" you mentioned would probably be accepted as plausible, if 
not fact, by your average American movie goer.

But then, I'm a jaded twenty-something who doesn't know any better... ;)

Sarah
_________________________________________________
http://www.modehistorique.com

"Those who are willing to sacrifice their basic liberties to assure 
their security deserve neither..."

Benjamin Franklin


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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Re: Costume Movies
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> Let's see. What are some other good inaccurate films
> that actually are 
> enhanced by their inaccuracies? 

The BBC's Gormenghast production was gorgeous,
costume-wise (though the lighting throughout seemed
remarkably too bright for the original Peake-ian
vision). We bought the DVD just to admire the
fantastical and yet vaguely historical clothing. 

The BBC's website does a fairly nice job presenting
the costume designer's process/vision:

http://makeashorterlink.com/?F6BC32A86

-Tasha

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> Let's see. What are some other good inaccurate films
> that actually are 
> enhanced by their inaccuracies? 

The BBC's Gormenghast production was gorgeous,
costume-wise (though the lighting throughout seemed
remarkably too bright for the original Peake-ian
vision). We bought the DVD just to admire the
fantastical and yet vaguely historical clothing. 

The BBC's website does a fairly nice job presenting
the costume designer's process/vision:

http://makeashorterlink.com/?F6BC32A86

-Tasha

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From h-costume-bounces@indra.com  Fri Nov 14 11:12:20 2003
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Lady's purse (christmas gift)
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They're lovely, Bjarne.

Kate Bunting
Library, University of Derby

>>> drewscph@post12.tele.dk 11/14/03 03:42pm >>>
Hello.
I have added new things to my website, a lady's embroidered purse wich
is
going to be a christmas gift for a friend,
http://www.my-drewscostumes.dk/purse.htm 
 and i have also added new progress to the new embroidered suit i am
making.
http://www.my-drewscostumes.dk/chenillesuit.htm 
I have not started to embroider the jacket yeat, but i started to "warm
up"
with an extra waistcoat for the suit with a wreath of wild briars. I am
in
an embroidery freak state of mind :-)

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk 

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


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In a message dated 11/14/2003 10:17:35 AM Eastern Standard Time, 
bkessinger@ureach.com writes:

> Did I
> enjoy Valmont? Yes, but for me it was no match for Dangerous Liaisons.
> 
> 

Here Here! [or is that Hear! Hear!?]

Except I didn't enjoy "Valmont". I thought it clunky and leaden and, as you 
say, the actors are too young and not convincing. Though I did like the 
portrayal of Madam de Valonge [sp] in it.

"DL" is superior in every respect IMHO. Down to the music.

I know Gail [was it?] wants it to be rollicking. But it's not "Tom Jones" or 
"Joseph Andrews". No one in these tales is trying to destroy others lives just 
for sport. The "DL" characters are sinister to the max. Just for their own 
amusement. Nothing rollicking about it.
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> One of my favourite examples of the leads getting away with bad
> costume is "Dangerous Beauty", in which the male lead wears modern
> trousers and everyone else wears venetian breeches as are appropriate
> to the time and place.

The part about that movie which gets me giggling (until I see all the 
young ladies in my area imitating it) is the flap front dress so that 
you can see the courtesan's breeches. It's especially funny when you 
know that a "paperdoll" of what courtesans wore (and that they wore 
them under the dress unseen) had to have been used as reference. They 
are assuming the "flap" was actually on the dress, rather than just a 
"paperdoll" device to show what was worn beneath. And most of them 
leave off the flap part entirely (as was done in the movie.)

Kat
<kat@redtrollforge.com>


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In a message dated 11/14/2003 10:50:01 AM Eastern Standard Time, 
sarah@modehistorique.com writes:

> Honestly, with as much as the Teeming Millions know about their 
> country's history, and despite the best efforts of PBS, all of these 
> "plot points" you mentioned would probably be accepted as plausible, if 
> not fact, by your average American movie goer.
> 

No Kidding...

They did this TV film about the Confederate spy Rose Greenhow. She's buried 
here in Wilmington, NC, where I live and everyone here knows her story. We 
laughed out asses off at this picture. In it she secretly has a crush on 
Pinkerton. HAHAHAHAHAHAHAHAHA!!!!! And at the end they put her up against a wall and 
shoot her. That's not how she died! The real story is much more interesting and 
even better cinematically.

If you want to know....she was caught passing info she'd gleaned from her 
senator husband and others who attended her many Washington social events. 
Because she was a senator's wife they gave her a second chance and told her if she 
was caught helping the South again, it was curtains. She went to England to 
raise money for the Confederacy and on her return, while trying to run the 
blockade at Fort Fisher, NC was about to get caught. She insisted she be put in a 
life boat. But it was night and the seas were rough and the small boat capsized. 
Her body was found washed up in the morning. She had lots of gold hidden in 
her clothing, so she sank like a stone.

A much more dramatic ending than a firing squad, no?
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Subject: [h-cost] Edwardian corsetry
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I don't have anything to add to this at all, but I wanted to tell you that 
this sounds so EXTREMELY interesting!!!!  I, and I'm sure many others here, 
would love to see your research progress and any results you might come 
upon.

Good luck in your search!!!

:) jessica

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Subject: Re: [h-cost] Re: elizabeth
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> If you want to know....she was caught passing info she'd gleaned from 
> her
> senator husband and others who attended her many Washington social 
> events.
> Because she was a senator's wife they gave her a second chance and 
> told her if she
> was caught helping the South again, it was curtains. She went to 
> England to
> raise money for the Confederacy and on her return, while trying to run 
> the
> blockade at Fort Fisher, NC was about to get caught. She insisted she 
> be put in a
> life boat. But it was night and the seas were rough and the small boat 
> capsized.
> Her body was found washed up in the morning. She had lots of gold 
> hidden in
> her clothing, so she sank like a stone.
>
> A much more dramatic ending than a firing squad, no?

Definitely!  Just like QEI's life was infinitely more interesting than 
"Elizabeth" made it out to be.  It irks me when Hollywood decides that 
the real or original story isn't good enough and then tampers with it.  
You'd think some script writers thought they were God, or something... 
Or the directors, or producers, or marketers... Whoever ended up making 
the final decision on movies that resemble nothing of the original 
book/historical personage's life.

I'm just reminded of Gone With The Wind, a movie which left out the 
fact that Scarlett had three children, one by each of her husbands, but 
that in the end, the book and the movie matched up pretty seamlessly, 
save for that one fact.  And the Princess Bride, which still managed to 
be a delightful movie despite deviating from the original book here and 
there.  Of course, the reasons why these two movies in particular were 
held true to the original story could have had something to do with the 
intense involvement of the authors on the filming process.

And as for the obligatory costume content: Walter Plunket was the sole 
reason I was drawn into historical costuming.  His designs were and 
still are, some of the very best period costumes to ever come out of 
Hollywood.  Even though they're not 100% historically accurate, they're 
a heck of a lot closer than the majority.  Particularly for that era of 
filmmaking...

Sarah

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Date: Fri, 14 Nov 2003 09:18:32 -0800
Subject: Re: [h-cost] Lady's purse (christmas gift)
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beautiful. If I do even a quarter as well as you, I'll count it a
success. :-)
Arlys

On Fri, 14 Nov 2003 16:11:04 +0000 "Kate M Bunting"
<K.M.Bunting@derby.ac.uk> writes:
> They're lovely, Bjarne.
> 
> Kate Bunting
> Library, University of Derby
> 
> >>> drewscph@post12.tele.dk 11/14/03 03:42pm >>>
> Hello.
> I have added new things to my website, a lady's embroidered purse 
> wich
> is
> going to be a christmas gift for a friend,
> http://www.my-drewscostumes.dk/purse.htm 
>  and i have also added new progress to the new embroidered suit i am
> making.
> http://www.my-drewscostumes.dk/chenillesuit.htm 
> I have not started to embroider the jacket yeat, but i started to 
> "warm
> up"
> with an extra waistcoat for the suit with a wreath of wild briars. I 
> am
> in
> an embroidery freak state of mind :-)
> 
> 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  Fri Nov 14 12:37:24 2003
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Subject: Re: [h-cost] Re: elizabeth
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My like or dislike of a movie generally has nothing whatsoever to do with
whether or not it is like the book. I will give you an example of a movie
that is excellent and a classic despite the fact it has only the basics in
common with the book.... The Shining. As I said previously, when I go to the
movies, I am there to be entertained by the story the filmmakers are
telling. I do not go for a costume lesson nor a history lesson. If I want to
know what happens in the book, I read the book.

----- Original Message ----- 
From: "Sarah" <sarah@modehistorique.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 14, 2003 12:26 PM
Subject: Re: [h-cost] Re: elizabeth


> Definitely!  Just like QEI's life was infinitely more interesting than
> "Elizabeth" made it out to be.  It irks me when Hollywood decides that
> the real or original story isn't good enough and then tampers with it.
> You'd think some script writers thought they were God, or something...
> Or the directors, or producers, or marketers... Whoever ended up making
> the final decision on movies that resemble nothing of the original
> book/historical personage's life.
>
> I'm just reminded of Gone With The Wind, a movie which left out the
> fact that Scarlett had three children, one by each of her husbands, but
> that in the end, the book and the movie matched up pretty seamlessly,
> save for that one fact.  And the Princess Bride, which still managed to
> be a delightful movie despite deviating from the original book here and
> there.  Of course, the reasons why these two movies in particular were
> held true to the original story could have had something to do with the
> intense involvement of the authors on the filming process.
>
> And as for the obligatory costume content: Walter Plunket was the sole
> reason I was drawn into historical costuming.  His designs were and
> still are, some of the very best period costumes to ever come out of
> Hollywood.  Even though they're not 100% historically accurate, they're
> a heck of a lot closer than the majority.  Particularly for that era of
> filmmaking...
>
> Sarah
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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From: "Linda Walton" <linda.walton@dsl.pipex.com>
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Subject: Re: [h-cost] Costuming in movies rant
Date: Fri, 14 Nov 2003 17:42:03 -0000
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Here's a quote I've just picked out of a trailer for a new series about
Charles II, put out by the B.B.C. here in England:-

"And then there's a prodigious amount of bedding and betrayal in the BBC's
new period drama Charles II, with Rufus Sewell leading a very strong cast -
not least Shirley Henderson as his wife Catharine of Braganza. Questions of
authenticity bedevil historical drama, but if the director suceeds in
creating a believable atmosphere, does the detail matter?"

I suppose this must sum up the attitude of a lot of the people who make
costume dramas?

Linda Walton.

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From: "Cindy Abel" <brujne@creighton.edu>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] Costuming in movies rant
Date: Fri, 14 Nov 2003 11:51:14 -0600
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Here's a quote I've just picked out of a trailer for a new series about
Charles II, put out by the B.B.C. here in England:-

"And then there's a prodigious amount of bedding and betrayal in the BBC's
new period drama Charles II, with Rufus Sewell leading a very strong cast -
not least Shirley Henderson as his wife Catharine of Braganza. Questions of
authenticity bedevil historical drama, but if the director suceeds in
creating a believable atmosphere, does the detail matter?"

I suppose this must sum up the attitude of a lot of the people who make
costume dramas?

Heavens, yes!! But the appeal is going to be Rufus Sewell! Although I wonder
if he'll wear brown contacts, even since he doesn't look like Charles II?

Wonder if the ladies will be garbed a la their Lely & Co classical "undress"
portraits, or what they really wore day to day.  "Painted Ladies" is a great
tour of the Restoration Court "beauties" as they appeared in portraiture.

Cindy Abel




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From h-costume-bounces@indra.com  Fri Nov 14 12:55:04 2003
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Subject: Re: [h-cost] Re: elizabeth
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But my question is this, then:  Why make a movie based on a book that 
has the same title as the book but resembles nothing about the book at 
all?  I think a lot of my offense with the movie/book discrepancy is 
that when I go to see a movie based on a book that I enjoyed, I want to 
see that book brought to life.  Not some bizarre plot that has nothing 
whatsoever to do with the book, wrapped in a thin veneer of legitimacy 
from having the same title as the original text.  I think if you're 
going to go through that much trouble to make a movie that doesn't 
resemble the book it's supposedly based on, why even both associating 
it with the book?

Of course, there's varying degrees of "based on the book" that I do 
recognize.  LOTR is a good example, as are the other two examples I 
mentioned previously.  Changes were likely made to fit time 
constraints, I'm sure.  Also, some plot points don't translate well 
onto the silver screen.

Sarah

On Friday, November 14, 2003, at 09:36  AM, Teena Paradise wrote:

> My like or dislike of a movie generally has nothing whatsoever to do 
> with
> whether or not it is like the book. I will give you an example of a 
> movie
> that is excellent and a classic despite the fact it has only the 
> basics in
> common with the book.... The Shining. As I said previously, when I go 
> to the
> movies, I am there to be entertained by the story the filmmakers are
> telling. I do not go for a costume lesson nor a history lesson. If I 
> want to
> know what happens in the book, I read the book.
>
> ----- Original Message -----
> From: "Sarah" <sarah@modehistorique.com>
> To: "Historical Costume" <h-costume@indra.com>
> Sent: Friday, November 14, 2003 12:26 PM
> Subject: Re: [h-cost] Re: elizabeth
>
>
>> Definitely!  Just like QEI's life was infinitely more interesting than
>> "Elizabeth" made it out to be.  It irks me when Hollywood decides that
>> the real or original story isn't good enough and then tampers with it.
>> You'd think some script writers thought they were God, or something...
>> Or the directors, or producers, or marketers... Whoever ended up 
>> making
>> the final decision on movies that resemble nothing of the original
>> book/historical personage's life.
>>
>> I'm just reminded of Gone With The Wind, a movie which left out the
>> fact that Scarlett had three children, one by each of her husbands, 
>> but
>> that in the end, the book and the movie matched up pretty seamlessly,
>> save for that one fact.  And the Princess Bride, which still managed 
>> to
>> be a delightful movie despite deviating from the original book here 
>> and
>> there.  Of course, the reasons why these two movies in particular were
>> held true to the original story could have had something to do with 
>> the
>> intense involvement of the authors on the filming process.
>>
>> And as for the obligatory costume content: Walter Plunket was the sole
>> reason I was drawn into historical costuming.  His designs were and
>> still are, some of the very best period costumes to ever come out of
>> Hollywood.  Even though they're not 100% historically accurate, 
>> they're
>> a heck of a lot closer than the majority.  Particularly for that era 
>> of
>> filmmaking...
>>
>> Sarah
>>
>> _______________________________________________
>> h-costume mailing list
>> h-costume@mail.indra.com
>> http://mail.indra.com/mailman/listinfo/h-costume
>>
>>
>
> _______________________________________________
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>
>
>
_________________________________________________
http://www.elizabethanlady.com

"Those who are willing to sacrifice their basic liberties to assure 
their security deserve neither..."

Benjamin Franklin


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At Fri, 14 Nov 2003 14:43:22 +0000, "Kate M Bunting" 
<K.M.Bunting@derby.ac.uk> wrote:

>When I saw "The Three Musketeers" when it first came out, I was 
>disappointed that the few genuinely dramatic moments were played down in 
>favour of comedy - but perhaps that was just youthful idealism on my part.

I felt the same way... but then I read the book. OK, I read "Mousquetaires" 
in translation (wasn't confident enough of my ability to read it in French 
at the time), but *still*. OTOH, it was reading some of the truly comic 
moments in "Vingt Ans Après" (which I *did* read in French) that brought a 
lot of that home to me. (I love the scene early on where d'Artagnan and 
Porthos, working for Mazarin and trying to foil a prison break, run into 
Athos and Aramis, working for the Fronde -- the aristocracy -- and trying 
to bring the now-fugitive prisoner to safety... Athos and d'Artagnan 
recognize each other's unique styles of swordsmanship. Now I'm wondering if 
this is there is an earlier example of a "safe word" used in literature...)


Brenda
webwarren@earthlink.net



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Subject: Re: [h-cost] Re: elizabeth
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I understand what you are saying. But to go to any movie expecting it to be
just like the book is doomed to failure. There are so many things that can
affect it, as you mentioned. And some of the complaints I hear from people
are so trivial that I can't understand why that person would go to movies at
all if something so small is going to ruin the entire movie. Stupid things
like... "But everyone knows in the book, her curtains are red!" etc. And I
have seen people go to a movie based on a book looking for discrepancies
rather than being there to enjoy the film. What is the point in that? I plop
down my $8 to be entertained, not to be pissed off.

----- Original Message ----- 
From: "Sarah" <sarah@modehistorique.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 14, 2003 12:53 PM
Subject: Re: [h-cost] Re: elizabeth


> But my question is this, then:  Why make a movie based on a book that
> has the same title as the book but resembles nothing about the book at
> all?  I think a lot of my offense with the movie/book discrepancy is
> that when I go to see a movie based on a book that I enjoyed, I want to
> see that book brought to life.  Not some bizarre plot that has nothing
> whatsoever to do with the book, wrapped in a thin veneer of legitimacy
> from having the same title as the original text.  I think if you're
> going to go through that much trouble to make a movie that doesn't
> resemble the book it's supposedly based on, why even both associating
> it with the book?
>
> Of course, there's varying degrees of "based on the book" that I do
> recognize.  LOTR is a good example, as are the other two examples I
> mentioned previously.  Changes were likely made to fit time
> constraints, I'm sure.  Also, some plot points don't translate well
> onto the silver screen.
>
> Sarah

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Subject: Re: [h-cost] I need help!!!!
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Thanks to everyone that offered links and help. The project is finished and
the images are great!
----- Original Message ----- 
From: "Hope Greeenberg" <hope.greenberg@uvm.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 12, 2003 10:11 AM
Subject: Re: [h-cost] I need help!!!!


> Sounds like fun! Here are a couple:
>
> I've just begun collecting 10th and 11th here:
> http://www.uvm.edu/~hag/rhuddlan/images/
>
> And there are several sculptures mixed in with architectural details
> from 11th, 12th, 13th cent. here:
> http://witcombe.sbc.edu/ARTHmedieval.html#Romanesque
>
> For 12th and 13th try:
> http://www.artcyclopedia.com/history/gothic.html
>
> or go to the Web Gallery of Art, go to the search feature, and search by
> century:
> http://www.kfki.hu/~arthp/index1.html
>
>
> - Hope
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>

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Subject: Re: [h-cost] Costuming in movies rant
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> (snip)
> Heavens, yes!! But the appeal is going to be Rufus Sewell! Although I
wonder
> if he'll wear brown contacts, even since he doesn't look like Charles II?
>
> Wonder if the ladies will be garbed a la their Lely & Co classical
"undress"
> portraits, or what they really wore day to day.  "Painted Ladies" is a
great
> tour of the Restoration Court "beauties" as they appeared in portraiture.
>
> Cindy Abel
>

Here is the link to the series website:-
http://www.bbc.co.uk/charles/

There are some preview clips which give glimpses of the clothes, (however
I'm unable to distinguish eye colour), and a photogallery which shows
pictures of some of the sets.  There's a promise of a photogallery of the
costumes soon.

Linda Walton.

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Subject: [h-cost] Re: Costume Movies
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>From: AlbertCat@aol.com
>...Let's see. What are some other good inaccurate films that actually are
>enhanced by their inaccuracies? "Sleepy Hollow" comes 1st to mind. Great 
>clothes but
>not exactly true to the 1790s. "Shakespeare in Love" would fit here too. 
>How
>about "Satyricon"?

Pirates of the Carribean, Much Ado about Nothing, a huge number of westerns, 
Gangs of New York -- all of with are presenting myths, not history.

Marc

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From: "Linda Walton" <linda.walton@dsl.pipex.com>
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Subject: Fw: [h-cost] Rufus Sewell as Charles II
Date: Fri, 14 Nov 2003 18:39:25 -0000
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Sorry - just realised I should have re-titled this message.
Linda Walton.


----- Original Message ----- 
From: "Linda Walton" <linda.walton@dsl.pipex.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 14, 2003 6:20 PM
Subject: Re: [h-cost] Costuming in movies rant


> > (snip)
> > Heavens, yes!! But the appeal is going to be Rufus Sewell! Although I
> wonder
> > if he'll wear brown contacts, even since he doesn't look like Charles
II?
> >
> > Wonder if the ladies will be garbed a la their Lely & Co classical
> "undress"
> > portraits, or what they really wore day to day.  "Painted Ladies" is a
> great
> > tour of the Restoration Court "beauties" as they appeared in
portraiture.
> >
> > Cindy Abel
> >
>
> Here is the link to the series website:-
> http://www.bbc.co.uk/charles/
>
> There are some preview clips which give glimpses of the clothes, (however
> I'm unable to distinguish eye colour), and a photogallery which shows
> pictures of some of the sets.  There's a promise of a photogallery of the
> costumes soon.
>
> Linda Walton.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume

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I had heard they are great but I can't find them anywhere. I emailed the MA but haven't heard back. I also called/emailed to other suppliers and they are out as well. Any help would be greatly appreciated as I am scared to death to draft my own patterns!
Thank you, Angelique


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At 11:06 AM 11/14/2003 -0800, me wrote:
>I had heard they are great but I can't find them anywhere. I emailed the
MA but haven't heard back. I also called/emailed to other suppliers and
they are out as well. Any help would be greatly appreciated as I am scared
to death to draft my own patterns!


Angelique,  the Lady's Wardrobe pattern, which contains the skirt,
underskirt, forpart, bodices and sleeves,  is currently being reprinted and
will be available within 2-3 weeks. It has been heavily revised for better
fit and more historical accuracy.  I still have the Underpinnings,
Accesories, and Men's patterns in stock.  I strongly suggest making the
corset, at least, from my pattern as the bodices are drafted to fit over
it, so you may wish to order the Underpinnings and get started on that now.  

Margo

"One Tough Costumer"

www.margospatterns.com
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From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] margo andersons patterns?
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At 11:06 AM 11/14/2003 -0800, me wrote:
>I had heard they are great but I can't find them anywhere. I emailed the
MA but haven't heard back. I also called/emailed to other suppliers and
they are out as well. Any help would be greatly appreciated as I am scared
to death to draft my own patterns!


Angelique,  the Lady's Wardrobe pattern, which contains the skirt,
underskirt, forpart, bodices and sleeves,  is currently being reprinted and
will be available within 2-3 weeks. It has been heavily revised for better
fit and more historical accuracy.  I still have the Underpinnings,
Accesories, and Men's patterns in stock.  I strongly suggest making the
corset, at least, from my pattern as the bodices are drafted to fit over
it, so you may wish to order the Underpinnings and get started on that now.  

Margo

"One Tough Costumer"

www.margospatterns.com
_______________________________________________
h-costume mailing list
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From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] margo andersons patterns?
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http://www.margospatterns.com/
-C

 --- me <ivycircle@yahoo.com> wrote: > I had heard
they are great but I can't find them
> anywhere. I emailed the MA but haven't heard back. I
> also called/emailed to other suppliers and they are
> out as well. Any help would be greatly appreciated
> as I am scared to death to draft my own patterns!
> Thank you, Angelique
> 
> 
> ---------------------------------
> Do you Yahoo!?
> Protect your identity with Yahoo! Mail AddressGuard
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=====
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Marc wrote:
> Pirates of the Carribean, Much Ado about Nothing, a
> huge number of westerns, 
> Gangs of New York -- all of with are presenting
> myths, not history.

To be fair, Gangs of New York actually does make a
loose attempt at portraying historical figures and
incidents, albeit in a time-collapsed and
overly-exaggerated manner. Bill the Butcher really
existed, but not exactly during the time portrayed in
the movie, and not with the same storyline. The Dead
Rabbits existed. Five Corners existed and looked
almost exactly the way it was portrayed in the movie,
according to period photos. The original book,
published in 1928, is actually a fascinating read in
that "can't look away from the trainwreck" kind of
way. It's a grim reminder that gang violence hasn't
changed much in 200 years. 

Did anyone else notice that Daniel Day Lewis portrayed
Bill the Butcher with a stiff, pidgeon-toed walk that
evokes rickets? Sometimes it's not just the clothes
that make the man, eh. I thought he deserved the Oscar
for that role.

-Tasha

=====
***Updated as of November 1, 2003: Aumônière-mania!***
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] Books vs movies was: elizabeth
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Greetings,

One way to look at the differences in the movie/book dichotomy is that 
you get two stories for the price of one.  let's look at LOTR.  I have 
to admit that I screamed bloody murder over what they did to Faramir, 
at first.  Boy, was I peeved.  But the more I though about it, the less 
I minded.  It was simply exploring possibilities that the book didn't.  
So we have two takes on Faramir.  Personally, I prefer the book's 
Faramir because he was the underdog son who tried hard to please his 
father, but to no avail.  But the actor really captured the temptation 
of the ring, not to mention being the yummiest in the movie.  *grin*

But.... There's always a but....

Now I have two tellings of a great story.  I'm glad they beefed up the 
Arwen and Eowyn characters.  Tolkien, bless his soul, didn't write 
female characters, at least not as deeply as I like to see.  I 
appreciated the movie-depicted conflict within Arwen over her decision 
to stay in Middle Earth and her woman's love for Aragorn over a 
daughter's childish fealty to her father.  And while the Elves didn't 
give a fig for humans in the books, the scene at Helm's Deep when the 
elves arrive is one of my favorite's in the movie, along with Eowyn 
standing on the wind blown heights, with the banner falling to the 
ground, symbolizing the fall of Rohan.  You don't find either in the 
books, both they are both powerful images in the movie.

Books and movies are vastly different mediums, thank goodness.  Each 
have their strengths and weaknesses.  Jackson did the best he could in 
filming a series of book that have taken on religious proportions with 
some people.  He's got a pair of brass ones just for that fact alone.  
The movies are brilliantly executed, even though I have been extremely 
displeased with some plot changes.  I would have given my eye teeth to 
work in the costuming department.

Anyway, that's my take on the issue.  Books and movies rarely follow 
the exact same plot line, often for good reason.  It's a chance to 
explore some things the author didn't, and it's an opportunity to make 
grand visual statements, which cannot be done in the books.

best regards,
Althea

On Friday, November 14, 2003, at 09:53 AM, Sarah wrote:

> But my question is this, then:  Why make a movie based on a book that 
> has the same title as the book but resembles nothing about the book at 
> all?  I think a lot of my offense with the movie/book discrepancy is 
> that when I go to see a movie based on a book that I enjoyed, I want 
> to see that book brought to life.  Not some bizarre plot that has 
> nothing whatsoever to do with the book, wrapped in a thin veneer of 
> legitimacy from having the same title as the original text.  I think 
> if you're going to go through that much trouble to make a movie that 
> doesn't resemble the book it's supposedly based on, why even both 
> associating it with the book?
>
> Of course, there's varying degrees of "based on the book" that I do 
> recognize.  LOTR is a good example, as are the other two examples I 
> mentioned previously.  Changes were likely made to fit time 
> constraints, I'm sure.  Also, some plot points don't translate well 
> onto the silver screen.
>
> Sarah
>
> On Friday, November 14, 2003, at 09:36  AM, Teena Paradise wrote:
>
>> My like or dislike of a movie generally has nothing whatsoever to do 
>> with
>> whether or not it is like the book. I will give you an example of a 
>> movie
>> that is excellent and a classic despite the fact it has only the 
>> basics in
>> common with the book.... The Shining. As I said previously, when I go 
>> to the
>> movies, I am there to be entertained by the story the filmmakers are
>> telling. I do not go for a costume lesson nor a history lesson. If I 
>> want to
>> know what happens in the book, I read the book.
>>
>> ----- Original Message -----
>> From: "Sarah" <sarah@modehistorique.com>
>> To: "Historical Costume" <h-costume@indra.com>
>> Sent: Friday, November 14, 2003 12:26 PM
>> Subject: Re: [h-cost] Re: elizabeth
>>
>>
>>> Definitely!  Just like QEI's life was infinitely more interesting 
>>> than
>>> "Elizabeth" made it out to be.  It irks me when Hollywood decides 
>>> that
>>> the real or original story isn't good enough and then tampers with 
>>> it.
>>> You'd think some script writers thought they were God, or 
>>> something...
>>> Or the directors, or producers, or marketers... Whoever ended up 
>>> making
>>> the final decision on movies that resemble nothing of the original
>>> book/historical personage's life.
>>>
>>> I'm just reminded of Gone With The Wind, a movie which left out the
>>> fact that Scarlett had three children, one by each of her husbands, 
>>> but
>>> that in the end, the book and the movie matched up pretty seamlessly,
>>> save for that one fact.  And the Princess Bride, which still managed 
>>> to
>>> be a delightful movie despite deviating from the original book here 
>>> and
>>> there.  Of course, the reasons why these two movies in particular 
>>> were
>>> held true to the original story could have had something to do with 
>>> the
>>> intense involvement of the authors on the filming process.
>>>
>>> And as for the obligatory costume content: Walter Plunket was the 
>>> sole
>>> reason I was drawn into historical costuming.  His designs were and
>>> still are, some of the very best period costumes to ever come out of
>>> Hollywood.  Even though they're not 100% historically accurate, 
>>> they're
>>> a heck of a lot closer than the majority.  Particularly for that era 
>>> of
>>> filmmaking...
>>>
>>> Sarah
>>>
>>> _______________________________________________
>>> h-costume mailing list
>>> h-costume@mail.indra.com
>>> http://mail.indra.com/mailman/listinfo/h-costume
>>>
>>>
>>
>> _______________________________________________
>> h-costume mailing list
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>>
>>
> _________________________________________________
> http://www.elizabethanlady.com
>
> "Those who are willing to sacrifice their basic liberties to assure 
> their security deserve neither..."
>
> Benjamin Franklin
>
>
> _______________________________________________
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>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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I also wanted to chime in about A Knight's Tale. I love this movie... in
fact I bet I have seen it 15-20 times as it is one of the dvds I regularly
put on while sewing. I would certainly not base any costumes off of this
movie. However, I feel that this movie gives joe average a sense of how
people might have felt in the middle ages. I will explain. In the movie, the
crowd at the tournament was portrayed very similarly to a modern day
football game crowd. Our experience of being a spectator at a football game
was probably very similar to their experience at a tournament.....
excitement in the air, wondering who is going to win, wanting to see your
favorites walk out on the field, etc. Another instance that comes to mind is
at the dance. How many of you, upon hearing the Bowie song start to play,
said to yourself, "Oh I love this song"? I can't imagine that people of
period didn't feel the same way when they heard a favorite being played. Had
a medieval tune been played, many in the audience wouldn't have had that
connection with the music. Now I am not going to say that people realized
any of this while watching it... but I noticed it and I think subliminally
it affects the viewer.

Obligatory Costume Content: The character of Chaucer was naked... and then
he wore clothes including something that looked like one of Jimi Hendrix's
jackets.

----- Original Message ----- 
From: "Rima" <rima@anet.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Thursday, November 13, 2003 8:13 PM
Subject: Re: [h-cost] Costume Movies


> >   now the killing blow...I LIKED A KNIGHT'S TALE! <grin>
> >Yes, I know I'm being rather defensive about this....
> >
> >Tori
>
> Hey, we all have our dirty pleasure movies....   I could see where
> Knights Tale would end up on someone's list.   It's adorable, as long
> as you don't think it's historical.  ;-D
>
> Rima
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>
>

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Althea Turner wrote:

> Now I have two tellings of a great story.  

You and Tolkien both: check out some (many) of the writing he didn't 
include in the final version. His son Christopher has published quite a 
bit of it, including the genesis of LOTR: quite a different take on the 
story and characters. (Bingo and the ring!?)

> I'm glad they beefed up the 
> Arwen and Eowyn characters.  Tolkien, bless his soul, didn't write
> female characters, at least not as deeply as I like to see.  I 

Have to agree about that. Though mangled, I'm glad the Arwen/Aragorn 
story from appendices of the book made it into the movie. So, what 
impact will the costumes from these movies have on historic costumers?

- Hope


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I saw "Two Years Before the Mast" on TV as a teenager and was infatuated 
with Alan Ladd (or his character, Stewart) as he appeared at that age (note 
that his RL daughter (granddaughter?) was playing one of "Charlie's Angels" 
at that time), so I figured it'd be an interesting read for an English 
class book report. I never *did* manage to get to the end of the book; I 
found it very dry and nothing at all like the movie! What I recall of the 
two of them (book and movie) is that the movie glamourized a very, very 
small slice of what happened in about the first third of the book and 
twisted it out of context...

Ob Costume content: I wasn't into historical costuming at the time, so I've 
no idea how accurately *anything* was portrayed, and I'm really not that 
keen on trying to find a video just to check again...


Brenda
webwarren@earthlink.net


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From h-costume-bounces@indra.com  Fri Nov 14 15:31:46 2003
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Your take on "A Knight's Tale" is interesting but....

Did peasants [there's little or no middle class y'know] get to go to 
tournaments? Shouldn't they be working???? They don't get the week end off, y'know.

And there was no recorded music so how often did they get to hear their 
favorite song....or any song....unless they or one of their family members were 
playing it themselves? Unlike our lives, their day was not filled with music.

I think you [and the film] are grafting 20/21 century notions onto a time 
when such thoughts couldn't even have been thought. It's not the same. We live 
lives of outrageous leisure compared to those folks.

And, no, Mozart was not like a rock star in the 18th century either.
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In a message dated 11/14/2003 2:26:51 PM Eastern Standard Time, 
demontsegur@yahoo.com writes:

> Did anyone else notice that Daniel Day Lewis portrayed
> Bill the Butcher with a stiff, pidgeon-toed walk that
> evokes rickets? Sometimes it's not just the clothes
> that make the man, eh. I thought he deserved the Oscar
> for that role.
> 

He's amazing. I worked "Mohican's" y'know. A very nice fellow.
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From h-costume-bounces@indra.com  Fri Nov 14 15:42:47 2003
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Date: Fri, 14 Nov 2003 14:39:28 -0600
Subject: Re: [h-cost] Lady's purse (christmas gift)
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They both look fantastic. It must be nice to do a relatively quick
project like the purse occasionally instead of all the long term ones
that you usually do. 



Karen


On Fri, 14 Nov 2003 16:42:49 +0100 "Bjarne og Leif Drews"
<drewscph@post12.tele.dk> writes:
> Hello.
> I have added new things to my website, a lady's embroidered purse 
> wich is
> going to be a christmas gift for a friend,
> http://www.my-drewscostumes.dk/purse.htm
>  and i have also added new progress to the new embroidered suit i am 
> making.
> http://www.my-drewscostumes.dk/chenillesuit.htm
> I have not started to embroider the jacket yeat, but i started to 
> "warm up"
> with an extra waistcoat for the suit with a wreath of wild briars. I 
> am in
> an embroidery freak state of mind :-)
> 
> 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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> 
> 

________________________________________________________________
The best thing to hit the internet in years - Juno SpeedBand!
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From h-costume-bounces@indra.com  Fri Nov 14 16:01:28 2003
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Yes, they portrayed the peasants at the tournament, but my remarks about the
feeling of excitement etc would have applied to the nobles, as well.
However, the movie would not have worked had the nobles been portrayed
acting like football fans. Regarding your comments about the ball... as I
recall, there were no peasants at the ball and nobles were certainly
familiar with music. And, believe it or not, musicians played music which
was written down and/or memorized so a person could indeed hear the same
song many times without having to wait several centuries for recorded music.

As for your comment about Mozart, I don't recall seeing him in the movie nor
do I recall mentioning him in my message to which you were responding. It
must have been included for sarcasm or perhaps condescension... both
unnecessary. Everyone you disagree with is not an idiot.

----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, November 14, 2003 3:30 PM
Subject: Re: [h-cost] Costume Movies


> Your take on "A Knight's Tale" is interesting but....
>
> Did peasants [there's little or no middle class y'know] get to go to
> tournaments? Shouldn't they be working???? They don't get the week end
off, y'know.
>
> And there was no recorded music so how often did they get to hear their
> favorite song....or any song....unless they or one of their family members
were
> playing it themselves? Unlike our lives, their day was not filled with
music.
>
> I think you [and the film] are grafting 20/21 century notions onto a time
> when such thoughts couldn't even have been thought. It's not the same. We
live
> lives of outrageous leisure compared to those folks.
>
> And, no, Mozart was not like a rock star in the 18th century either.
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>

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Subject: Re: [h-cost] Re: Costume Movies 
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> In a message dated 11/14/2003 2:26:51 PM Eastern Standard Time, 
> demontsegur@yahoo.com writes:
> 
> > Did anyone else notice that Daniel Day Lewis portrayed
> > Bill the Butcher with a stiff, pidgeon-toed walk that
> > evokes rickets? Sometimes it's not just the clothes
> > that make the man, eh. I thought he deserved the Oscar
> > for that role.
> > 
> 
> He's amazing. I worked "Mohican's" y'know. A very nice fellow.

I *loved* "Gangs of New York" because Daniel Day Lewis was absolutely 
BRILLIANT as Billy the Butcher.  God, he was great!  I can't rave 
enough about how fantastic that movie was, and here I am, a self-
professed Leo-hater!  LOL!

DDL = Hotness

;)

Sarah,
who has too much time on her hands at work...
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From h-costume-bounces@indra.com  Fri Nov 14 17:02:11 2003
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From: "Sarah Goodman-Rodriguez" <sarah@modehistorique.com>
To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Movies I used to hate...
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Sitting here on a lonely Friday afternoon while everyone else is out 
of the office (lucky bums), I couldn't help but think of a few movies 
I used to absolutely DETEST due to historical 
innacuracies/costuming/bad plot/horrible acting but now I am able to 
enjoy them... History/Costume Snob that I am.  ;)

The first one that comes to mind is "Robin Hood: Prince of Theives".  
I am *so* not a Kevin Costner fan, and when this movie came out when I 
was in the 7th grade, I already had the sense that it was mangaling 
everything about the Robin Hood myth that could be remotely "period".  
The fact that Mr. Costner couldn't hold a convincing accent for longer 
than the first 30 seconds of the film was also a big turn off.  And 
the clothes... Eek.  What was up with those "Celts", too?  And what 
the heck is with that mullet hair-do they seem to give all leading 
male characters in period flicks?  Oh, and the fact that even though 
the Marion character was "updated" to reflect feminist ideals, AND the 
fact that she kicked Robin Hood's butt during her first scene, what's 
up with the fact that by the last 15 minutes of the film she's reduced 
to a cowering, simpering "dead weight woman" (to use a term my sister 
invinted), wailing "Robin!  Robin!" from the corner of the room?  Huh?

Anyway... 

I actually like the movie now.  I sat down and watched it for the 
first time in ten years a couple years back and enjoyed it.  Maybe I'm 
going soft in my old age... 

Nah.  ;)

Sarah
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] Movies I used to hate...
Date: Fri, 14 Nov 2003 16:55:28 -0600
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-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Sarah Goodman-Rodriguez
Sent: Friday, November 14, 2003 3:45 PM
To: Historical Costume
Sarah wrote




The first one that comes to mind is "Robin Hood: Prince of Theives".
I am *so* not a Kevin Costner fan, and when this movie came out when I
was in the 7th grade, I already had the sense that it was mangaling
everything about the Robin Hood myth that could be remotely "period".
The fact that Mr. Costner couldn't hold a convincing accent for longer
than the first 30 seconds of the film was also a big turn off.

Actually critics suggested that Costner and Mel Gibson (who did Hamlet the
same year)were both miscast and should have switched movies. And for Glen
Close to play Hamlet's mom---well, puberty must have hit about age 5, not to
mention that awfully capey blue chenille thingy she wore in at least one
scene.At least Mel wasn't in a mullet in that.
 And the clothes... Eek.

Was not a good year for historic costume movies.  What is worse, if they had
to be inaccurate, let's go whole hog and at least make them interesting! But
it was earth tones were in back then.

Oh, and the fact that even though
the Marion character was "updated" to reflect feminist ideals, AND the
fact that she kicked Robin Hood's butt during her first scene, what's
up with the fact that by the last 15 minutes of the film she's reduced
to a cowering, simpering "dead weight woman" (to use a term my sister
invinted), wailing "Robin!  Robin!" from the corner of the room?  Huh?

Either love makes you a softy(yeah, right!)or she was terrified that wearing
what was in medieval times a major fortune on her back,(historically correct
or not) she just might get a bit of blood on it. I remember I kept waiting
for her to brain Alan Rickman(who was more exciting than Robin)and had a
lovely, if drafty castle. No matter how much they gussied up the digs in
Sherwood, it is still camping!

Cindy Abel

Anyway...

I actually like the movie now.  I sat down and watched it for the
first time in ten years a couple years back and enjoyed it.  Maybe I'm
going soft in my old age...

Nah.  ;)

Sarah
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From: Tasha McGann <demontsegur@yahoo.com>
>To be fair, Gangs of New York actually does make a
>loose attempt at portraying historical figures and
>incidents, albeit in a time-collapsed and
>overly-exaggerated manner.

That's why it's just better to look at it as a myth, evoking a realities of 
the situation, but not being tied down to the facts.  As a movie, it simply 
doesn't stand up to internal analysis or comparison with the actual facts as 
we know them :)

>Bill the Butcher really existed, but not exactly during the time portrayed 
>in the movie, and
>not with the same storyline. The Dead Rabbits existed.

Again, not like they are portrayed in the movie by any stretch of the 
imagination.  The same is true for most of the major named characters in the 
movie barring the male and female principles, who did not exist at all.

>Five Corners existed and looked lmost exactly the way it was portrayed in 
>the movie,
>according to period photos.

Period photos from many decades after the dates in the movies.  There are no 
photographs, and darned few line drawings of the Points from that early.

>The original book, published in 1928, is actually a fascinating read in 
>that "can't look away from the trainwreck" kind of way. It's a grim 
>reminder that gang violence hasn't changed
>much in 200 years.

His other books are pretty good too, but again, very little of the book is 
actually in the movie.  Having seen some fo the early scripts where more of 
the book IS there, the storylines are way too convoluted and a bit more 
gruesome.

>...that make the man, eh. I thought he deserved the Oscar for that role.

I agree absolutely.

Marc

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From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Elizabeth
References: <20031114015739.7583.qmail@web80407.mail.yahoo.com>
 <Pine.LNX.4.10.10311132218310.8162-100000@shell.nightowl.net>
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Robin Netherton <robin@shell.nightowl.net> wrote
>
>On Thu, 13 Nov 2003, Jennifer Fleury wrote:
>
><on "Elizabeth">
>
>> Also, the costume designer said in a couple interviews that she was
>> seizing the opportunity to portray the "at home" type of clothing they
>> might have worn and that she basically had to invent it because nobody
>> really has any idea what that was.  Or perhaps SHE didn't have any
>> idea what that was, which would explain the costumes.
>
>Back when the movie first came out, someone posted a link to (or
>description of?) an interview with the costume designer, in which she said
>that the director forbade her to consult reference books because he wanted
>her ideas to be fresh and new. Something about him grabbing the books out
>of her hand and taking them away.
>
>(I can just imagine what my reaction to that would be. "I don't care if
>you are my boss, that Janet Arnold book cost me $150 and it's out of
>print, and if you destroy it you're going to replace it even if it means
>you'll have to pay for a reprinting!")
>
>Or am I thinking of a different movie?
>
No, you're right, I remember that.  I seem to remember my husband and I 
screaming at the TV that if you're going to make a historical movie, 
make it historical.  If you don't want to do history, do something else!

It always seems to me that the films / TV dramas that set themselves up 
to be oh-so-accurate are always the worst, while those that don't make a 
big fuss about it are usually actually *better* in the first place, and 
we don't mind when some things are wrong because we recognise why that 
part was not felt important, or why they used a different effect for a 
particular purpose.

Jean
-- 
Jean Waddie
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Sarah wrote:
> 
> I actually like the movie now.  I sat down and watched it for the
> first time in ten years a couple years back and enjoyed it.  Maybe I'm
> going soft in my old age...
> 
> Nah.  ;)
> 

Yeah. :-) We're talking about the one with the peasants living in secret
tree houses, right? And Robin Hood all angst-ridden about his father
remarrying? And the Sherrif of Nottingham somehow being able to be king of
England? Maybe you need a nice rest and relax...

(note for the humor-challenged -- that's a JOKE)

Again, historic or literary accuracy isn't necessary for a movie (or else
I'd have to hate "The Wizard of Oz," one of the greatest movies ever made).
But at least make it plausible! I'm afraid "The Robin Hood That Must Not Be
Named" will never make my "watchable" list. But we all have different lists.

Gail Finke

PS: "The African Queen" also bears little relation to the book, though no
one seems to mind. Ditto with "Bedknobs and Broomsticks," which has only the
character's names in common. And "Chitty Chitty Bang Bang," one of my
favorite family costume movie musicals. And "Mary Poppins."







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In a message dated 11/14/2003 4:01:30 PM Eastern Standard Time, 
bkessinger@ureach.com writes:

> Everyone you disagree with is not an idiot.
> 

Nor did I say so. 

For those of you who are not thin skinned, my point was that the farther back 
in time you go, the less you can ascribe modern feelings and sensibilities to 
the inhabitants. Yes, they were all human with human emotions, but we have 
the benefit of hind sight.
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I am ever more amazed at the incredible work you do.  Thank you for sharing 
with us.


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

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



. I am in
>an embroidery freak state of mind :-)
>
>Bjarne
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
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Subject: Re: [h-cost] Movies I used to hate...
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In a message dated 11/14/2003 5:02:05 PM Eastern Standard Time, 
sarah@modehistorique.com writes:

> "Robin!  Robin!" from the corner of the room?  Huh?
> 
> 

And where's King John? He IS the cause of Robin's mission 
[steal....give.....] after all.
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Date: Fri, 14 Nov 2003 17:11:59 -0800
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From: Rima <rima@anet.net>
Subject: Re: [h-cost] margo andersons patterns?
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>I had heard they are great but I can't find them anywhere. I emailed 
>the MA but haven't heard back. I also called/emailed to other 
>suppliers and they are out as well. Any help would be greatly 
>appreciated as I am scared to death to draft my own patterns!
>Thank you, Angelique

Angelique, don't be scared.   Just start on cheap fabric.

I was also terrified until a couple of years ago, and still have TONS 
to learn, but I now find I have better results with the patterns I 
draft rather than commercial patterns.

This is likely because I'm a loony fit - seriously pear shaped, with 
a very long waist, which makes me four different sizes for bust, 
waist, hips, and back-neck-waist length.   Bodice patterns, in 
particular are a disaster for me.   The neck and armholes are WAY too 
long, the waist too short, the bust too big, the waist too small, the 
hips not high enough..... blah blah blah.   And cutting one, then 
altering it, really doesn't work well.  It has to be CUT right to sit 
right on your bod.

Let me also say, that I started "drafting" in complete ignorance.   I 
took a shirt pattern that fit pretty well, and messed with it until I 
liked what I got.   Then I drew my own "sloper" - kind of a 
shell-bodice thing - and now I cut most things for myself freehand 
around the sloper, since I know exactly how that one fits.

Granted, I am not making 26 piece Victorian bodices.   Certainly, 
that approach wouldn't work!  (The very thought that people actually 
DO that fills me with awe and wonder!)   But I have built quite a few 
well-fitting Elizabethan bodices, Italian gowns (1450ish) and 
medieval gowns (1250ish) and tunics this way, and they come out great.

Just buy cheap stuff (at first), say a few good words over your 
scissors before you cut (actually, I often ask my hubby or my mother 
to "bless" my scissors!) and GO for it!

Rima
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On Friday 14 November 2003 09:46 am, Kirrily Robert wrote:
> Cathy Raymond wrote:
> > "Hollywood and History" pointed this out.  As you say, it's truest of the
> > leads, particularly the female lead (sometimes they let the male lead
> > have a hairstyle that's more truly period, especially if he's not the
> > heartthrob type).
>
> One of my favourite examples of the leads getting away with bad costume
> is "Dangerous Beauty", in which the male lead wears modern trousers and
> everyone else wears venetian breeches as are appropriate to the time and
> place.
>

You're certainly right that the same principle often applies to costume, too, 
Kirrily, but my point (can't speak for Drea) and the point made in Hollywood 
and History was that even if the costumes are good in a movie, the 
hairstyles, at least for the leads, are quite likely to be contemporary to 
the time the movie was made, not the time in which the story is set.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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On Friday 14 November 2003 04:24 am, michaela wrote:
> > So is that why it seems to have been decided to cut Saruman out of the
> third film?  (Like Christopher Lee - I'm very shocked.)
>
> Yes, I heard that just after my email.. I was rather shocked.. more from
> the reasoning for it being cut (if it doesn't work then why include it in
> the dvd version?)

For the same reason stuff is *always* included in the DVD version--to provide 
extra material so the distributors can justify a higher price.  :-(  (I'm 
really beginning to hate the DVD format for this reason--the "extras" are 
just a waste of time in too many instances).

--
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] Costume Movies
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On Friday 14 November 2003 09:32 am, Sue Clemenger wrote:
> I'd add "Forever After" to that list.  And "Pirates of the Caribbean."
> --sue

 Don't talk to me about "Pirates of the Caribbean".  I'm still upset with the 
fact that they had to make a stupid plot assumption (the idea that a healthy 
well-to-do girl would not only be new to corset wearing but would faint as a 
result).  <grumble, mutter>  :-)


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: OZ - Witch of the south? was Re: [h-cost] Movies I used to hate...
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A movie that I never liked was the Wizard of OZ.  Almost hated it in fact
because I always wondered why anyone would make a movie with only a witch of
the North, East and West and no witch of the South.  I found this quite
perplexing as a kid and used to lay awake at night wondering where she was,
for years!  Maybe she would appear in a sequel, but that never happened.  As
a result, I never liked the film.

Then around the age of 35, after a too few many glasses of wine, I watched
the movie again and worked it, at least to my own satisfaction at least.
Reading the original book confirmed my theory.  Did anyone else notice this?
Does anyone have any ideas about who she might be?  Answer IMHO involves a
costuming convention in translating the book to the movie although none of
the books I've read about the movie mention this.  It's just my conclusion.

Lisa Sinervo
www.thrednedlestrete.com


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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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In a message dated 11/14/2003 8:42:49 PM Eastern Standard Time, 
cathy@thyrsus.com writes:

> For the same reason stuff is *always* included in the DVD version--to 
> provide 
> extra material so the distributors can justify a higher price. 

I know. Doncha hate the "alternative ending" scam. You mean you can't decide 
how to end the friggin' film????
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Lisa Sinervo wrote:

> A movie that I never liked was the Wizard of OZ.  Almost hated it in fact
> because I always wondered why anyone would make a movie with only a witch of
> the North, East and West and no witch of the South.  

...
> 
> Does anyone have any ideas about who she might be?  

Glinda the Good is the Witch of the South.

Dorothy's house lands on the Witch of the East, and she must go get the 
Ruby Slippers from her sister, the Witch of the West.

There was a Witch of the North in one of the books, but not in the movie 
version.



Dawn



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In a message dated 11/14/2003 9:23:00 PM Eastern Standard Time, 
dawn@reddawn.net writes:

> Glinda the Good is the Witch of the South.
> 

I thought she was the good Witch of the North.

The Witch of the South? I dunno....Katherine Harris? She's be wicked though.
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Dawn wrote:

> Lisa Sinervo wrote:
> 
>> A movie that I never liked was the Wizard of OZ.  Almost hated it in fact
>> because I always wondered why anyone would make a movie with only a 
>> witch of
>> the North, East and West and no witch of the South.  
> 
> 
> ...
> 
>>
>> Does anyone have any ideas about who she might be?  
> 
> 
> Glinda the Good is the Witch of the South.
> 
> Dorothy's house lands on the Witch of the East, and she must go get the 
> Ruby Slippers from her sister, the Witch of the West.
> 
> There was a Witch of the North in one of the books, but not in the movie 
> version.


Ignore that part about the Ruby Slippers. Duh. Dorothy got them off the 
Witch of the East. But she did have to confront the Witch of the West 
anyway.

Speaking of Ruby Slippers, here's a cool page of slipper trivia:

http://www.geocities.com/Hollywood/Hills/6396/rubyslip.htm

Anyone ever try making their own pair?



Dawn



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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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On Friday 14 November 2003 09:10 pm, AlbertCat@aol.com wrote:
> In a message dated 11/14/2003 8:42:49 PM Eastern Standard Time,
>
> cathy@thyrsus.com writes:
> > For the same reason stuff is *always* included in the DVD version--to
> > provide
> > extra material so the distributors can justify a higher price.
>
> I know. Doncha hate the "alternative ending" scam. You mean you can't
> decide how to end the friggin' film????


Usually, I do.  But sometimes it can be funny.  For example, the movie "Clue" 
had 4 alternative endings.  I'm told when it ran in the theaters different 
sites got different ones, but the video version has 'em all.  It's a hoot!

(By the way, has anybody noticed how off-topic this thread has become?)  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] Re: Costume Movies
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----- Original Message ----- 
From: "Tasha McGann" <demontsegur@yahoo.com>
To: <h-costume@indra.com>; <h-costume@net.indra.com>
Sent: Friday, November 14, 2003 11:05 AM
Subject: [h-cost] Re: Costume Movies


> The BBC's Gormenghast production was gorgeous,
> costume-wise (though the lighting throughout seemed
> remarkably too bright for the original Peake-ian
> vision). We bought the DVD just to admire the
> fantastical and yet vaguely historical clothing.
>
> The BBC's website does a fairly nice job presenting
> the costume designer's process/vision:
>
> http://makeashorterlink.com/?F6BC32A86
>
> -Tasha

I never even knew that Gormenghast had been filmed! It looks gorgeous--I'm
definitely going to look for that one!

Dianne
>

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used to
	hate...
Date: Fri, 14 Nov 2003 21:43:03 -0500
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On Friday 14 November 2003 09:27 pm, AlbertCat@aol.com wrote:
> In a message dated 11/14/2003 9:23:00 PM Eastern Standard Time,
>
> dawn@reddawn.net writes:
> > Glinda the Good is the Witch of the South.
>
> I thought she was the good Witch of the North.

You are right.  She *is* the good Witch of the North.

I plowed through most of the OZ books (there's a whole darn series) as a kid, 
and I believe there is a Witch of the South in the books, but I cannot 
remember whether they addressed the issue in the movie to save my life.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used tohate...
Date: Fri, 14 Nov 2003 18:53:06 -0800
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Glinda is the good witch of the North.  There is no obvious witch of the
South, hence all those sleepless nights :) but I think the movie would feel
incomplete if there wasn't a witch of the south at all.  Any other ideas?

Lisa


----- Original Message -----
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, November 14, 2003 6:27 PM
Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used
tohate...


> In a message dated 11/14/2003 9:23:00 PM Eastern Standard Time,
> dawn@reddawn.net writes:
>
> > Glinda the Good is the Witch of the South.
> >
>
> I thought she was the good Witch of the North.
>
> The Witch of the South? I dunno....Katherine Harris? She's be wicked
though.
> _______________________________________________
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> h-costume@mail.indra.com
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From h-costume-bounces@indra.com  Fri Nov 14 22:49:04 2003
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Date: Fri, 14 Nov 2003 23:50:25 -0500
From: Judy Mitchell <judymitch@oldwaylane.net>
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For anyone interested in seeing some of the costumes on 
display at the London exhibit, check out 
http://www.theonering.net/scrapbook/group/987 While photos 
have not ever been allowed by the public (or most press) at 
either of the first two exhibits, this person was allowed to 
take pics inside. These are the ONLY shots that have surfaced!

	-Judy Mitchell

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On Friday 14 November 2003 10:46 am, Teena Paradise wrote:
> Bjarne, can I be your friend too? ;-)

Be careful, Bjarne.  You could end up making so many purses for so many 
friends you won't have time for a life.  :-)

It *is* beautiful, though.  You have such talent.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Marc Carlson" <marccarlson20@hotmail.com>
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Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used
Date: Fri, 14 Nov 2003 22:48:41 -0600
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Lisa Sinervo wrote:
>A movie that I never liked was the Wizard of OZ.  Almost hated it in fact
>because I always wondered why anyone would make a movie with only a witch 
>of
>the North, East and West and no witch of the South.

Another case in which the movie doesn't follow the books.  Even leaving out 
the Thompson and Neill books, Glinda was the Witch of the South, and the 
Good Witch of the North was not named, but was mentioned.  Mombi may have 
been the deposed Wicked Witch of the North, if you accept the later 
intepretations.  I believe that Thompson mentioned a Good Witch of the West 
as well later on, but my memory may be faulty.

I've alway been sorry that the movie never went with Glinda's slinky red 
dress :)

Marc

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Subject: [h-cost] A couple of things....
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Margo said,
>It has been heavily revised for better
>fit and more historical accuracy.
Margo, if one already has the original pattern, is there anything (short of 
buying another pattern) to get an idea of what the revisions are?  Would 
you think about doing a "update sheet" or something for a small fee?  Just 
curious - have had the pattern for a while, but still haven't worked my way 
down through the "to do" project stack to that one yet.

Second, while I liked Costner's Robin Hood POT, for a real hoot watch it 
first, then immediately watch Mel Brooks' "Men in Tights".  Now that's funny.

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: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Regarding facial types
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A friend of mine just clued me in to a site that lets you draw your own
portrait from components -- hair, eyes, nose, etc. -- as a police sketch
artist might do. I've seen these sorts of things before, but the twist on
this one is that the site is Russian, and the components (I suspect) are
taken from drawings of Russian faces.

That could be a problem for some people (there were very few blonde
options, for instance!). For me, this was an advantage, as I have a
Russian facial type. I was able to find suitable components for most of my
features -- but not the right hairstyle, bleah! I settled for getting some
of the hairline right around the brow, and the rest looks like a style I
was wearing when I was about 18 (which was QUITE a while ago). Is this
what they're wearing in Russia these days?

Anyway: The site is set up to keep a running "average" of facial types
(displayed on the main page), and at the end of 2003, the creators "will
present the final average portraits of the Net Man and the Net Woman." So,
go add your own, and be represented! The main page is here:

http://interface.net.ru/en/

...where you can see the average male and female so far. Click on "create
your own portrait" at the top of the screen to do your own. On the left,
select the male or female icon. Then click the individual components on
the left, and select options from the right, and move them around on the
screen. You might want to have a mirror or a good photo handy -- I tried
to do it from memory at first and had a terrible time with positioning. I
also found that what seemed to be a good facial shape didn't fit with the
mouth I selected, and I ended up playing around with different options on
both till I found a set that combined to create the right shading on the
chin.

(BTW, the exercise also gave me a chance to experiment with a handful of
new hairstyles. Yuck, yuck, and yuck.)

Oh -- you can see my result, wrong hair and all, on file at
http://interface.net.ru/?face=5760 .

--Robin, who spent MUCH too much time on this



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I'm making mid-18th Century stays.  The originals I see are solidly boned 
with single lines of stitching between the bones.  So assuming I bone the 
entire area of my stays, can I use the slats from bamboo blinds for the bones?

I'm guessing that if the bones are really close together then they will 
keep each other from breaking even if they are only thin pieces of 
bamboo.  Their thinness ought to allow the curvature inherent in the shape 
of these stays, especially if I soak the finished garment thoroughly then 
allow it to dry in position while I am wearing it.  And I would have to 
sand each piece of bamboo carefully before installing it, to avoid splinters.

Does this idea seem feasible?  (I can't afford the dozens of steel bones 
for such a project.)  Alternatively, what else could I use for bones that 
would be really cheap but still do the job?

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

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> For the same reason stuff is *always* included in the DVD version--to 
> provide 
> extra material so the distributors can justify a higher price. 

>I know. Doncha hate the "alternative ending" scam. You mean you can't 
>decide 
>how to end the friggin' film????

Hear hear!   "Supposedly" the alternative ending thing is so that people working on the films won't be able to leak the endings, not knowing which they'll use.  >eye roll<   Another example of hollywood taking everyone for idiots.  The other thing I hate is now on sets, every screw up or lame thing that happens, they delight in how "interesting" it will be for the people who buy the DVD to see the outtakes etc.  And scenes that didn't work, whatever.  Occasionally, the interviews give interesting insights into the mind of the rare genius, but more often than not it just exposes the fact that the filmmakers aren't that smart or inspired, just lucky.  Once the DVD format includes the option of being able to play the movie with the cut scenes included what lame thing will they come up with to make you buy?  I shudder to think.  I guess if I was one of those people who make money off sales instead of just my salary for the duration of shooting, I'd feel differently.  But heck, I!
  guess it
 works.....


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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Date: Sat, 15 Nov 2003 08:00:37 -0500
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From: Carol Kocian <aquazoo@patriot.net>
Subject: Re: [h-cost] bamboo blind slats as corset bones???
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Hi Carolyn,

      I've always heard that bamboo is a bad thing to use for stays. 
It can break into long sharp pieces that can work their way out of 
the fabric and pierce an entrial.  Some people use oval or half oval 
basket caning.  We recently had a discussion of boning materials on 
the 18cWoman list (on Yahoogroups), and have discussed it a few times 
before that as well.

      Some people will use "found" plastics, like binding ties.  A 
thin person can get away with using less boning or less-than-ideal 
materials, and someone with a figure that needs support will need 
more and stronger boning.  It also depends on how rigid of a shape 
you want. It depends on the class you're portraying as well as the 
era - stays started out rigid in the early 18thC and were more of a 
natural shape by the end of it.

      There's a set of stays in _Corsets & Crinolines_ that are dated 
around 1770s, and they are not solidly boned.  That technique works 
well with the steel bones, and you don't need to buy as many.

      Also be careful about the shaping.  18thC stays tend to curve to 
the right shape due to the way they are cut.  A busk will help keep 
the front straight.  I remember seeing a full-figured lady wearing 
stays that were not boned well enough & had no busk, and they ended 
giving her more the look of the 2nd half of the 19th century.

      -Carol


>I'm making mid-18th Century stays.  The originals I see are solidly 
>boned with single lines of stitching between the bones.  So assuming 
>I bone the entire area of my stays, can I use the slats from bamboo 
>blinds for the bones?
>
>I'm guessing that if the bones are really close together then they 
>will keep each other from breaking even if they are only thin pieces 
>of bamboo.  Their thinness ought to allow the curvature inherent in 
>the shape of these stays, especially if I soak the finished garment 
>thoroughly then allow it to dry in position while I am wearing it. 
>And I would have to sand each piece of bamboo carefully before 
>installing it, to avoid splinters.
>
>Does this idea seem feasible?  (I can't afford the dozens of steel 
>bones for such a project.)  Alternatively, what else could I use for 
>bones that would be really cheap but still do the job?
>
>        CarolynKayta Barrows
>dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
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>
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A friend of mine and I used bamboo for our first 16th c. corsets, and
they were really miserable--broke, splintered, and ended up digging said
splinters into our flesh.
A cheap alternative, that would be washable to boot, would be those
long, flexible plastic ties you can get at hardware stores (and places
like Home Depot, I assume).  I picked up a big bundle of them (enough to
do an 18th c. corset for a *large* woman [me]) for about 10 bucks, and
they're the right width and everything.  They'd be lighter than steel,
and washable as well, if that's an issue.
You could also do a half-boned corset, maybe? I've seen references to
those.  Mind you, I'm no 18th c. expert (or anything close!) but I did
take a few classes through Penny's website (which is the closest I can
get to 18th c. anything in Montana!)
--sue

Carolyn Kayta Barrows wrote:
> 
> I'm making mid-18th Century stays.  The originals I see are solidly boned
> with single lines of stitching between the bones.  So assuming I bone the
> entire area of my stays, can I use the slats from bamboo blinds for the bones?
> 
> I'm guessing that if the bones are really close together then they will
> keep each other from breaking even if they are only thin pieces of
> bamboo.  Their thinness ought to allow the curvature inherent in the shape
> of these stays, especially if I soak the finished garment thoroughly then
> allow it to dry in position while I am wearing it.  And I would have to
> sand each piece of bamboo carefully before installing it, to avoid splinters.
> 
> Does this idea seem feasible?  (I can't afford the dozens of steel bones
> for such a project.)  Alternatively, what else could I use for bones that
> would be really cheap but still do the job?
> 
>         CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>           www.FunStuft.com
> 
>               //// \\\
>              ////-@@\\\
>             ((((   7 )))
>              (((  <> ))))
>                 )   ((((((
>            /----\   /---\))
> 
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From h-costume-bounces@indra.com  Sat Nov 15 09:51:04 2003
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Date: Sat, 15 Nov 2003 07:52:53 -0700
From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] Books vs movies was: elizabeth
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Well, locally, we have a young lady (age 13 or so) completely enamored
of the clothing Arwen wears.  Her folks are looking for ideas on what
medieval clothing would most closely come to the costumes.  I'm thinking
something 11th or 12th century, but then I'm not *that* familiar with
the movie (I've only seen the first installment, and that, only once). 
Am I at least on the right track?
--sue

Hope Greeenberg wrote:
><snipped> 
> Have to agree about that. Though mangled, I'm glad the Arwen/Aragorn
> story from appendices of the book made it into the movie. So, what
> impact will the costumes from these movies have on historic costumers?
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From h-costume-bounces@indra.com  Sat Nov 15 10:00:37 2003
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Oh, now, see, this is definitely one of those YMMV things.  I couldn't
*stand* the movie version of "The Shining!" I don't think I've yet seen
a screen version of any of King's novels that I liked even half as well
as the books.  My guess is, because King has always been such a
mind-author for me--his best and creepiest bits are those left up to
*my* imagination.
--sue, unable to come up with any Obligatory Costume Content this
time...

Teena Paradise wrote:
> 
> My like or dislike of a movie generally has nothing whatsoever to do with
> whether or not it is like the book. I will give you an example of a movie
> that is excellent and a classic despite the fact it has only the basics in
> common with the book.... The Shining.
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Subject: Re: [h-cost] Lady's purse (christmas gift)
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Oooh, every time I see your stuff, I admire it (and your talent) more.
I love the shading on the roses, and the precision of your stitches--no
wonky bits, just these beautiful, shining silk flowers and leaves. 
*sigh*
I'm gonna *have* to try some of that Eterna silk, too!
--sue

Bjarne og Leif Drews wrote:
> 
> Hello.
> I have added new things to my website, a lady's embroidered purse wich is
> going to be a christmas gift for a friend,
> http://www.my-drewscostumes.dk/purse.htm
>  and i have also added new progress to the new embroidered suit i am making.
> http://www.my-drewscostumes.dk/chenillesuit.htm
> I have not started to embroider the jacket yeat, but i started to "warm up"
> with an extra waistcoat for the suit with a wreath of wild briars. I am in
> an embroidery freak state of mind :-)
> 
> Bjarne
> 
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
> 
> http://home0.inet.tele.dk/drewscph/
> 
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Sue Clemenger wrote:
> Well, locally, we have a young lady (age 13 or so) completely enamored
> of the clothing Arwen wears.  Her folks are looking for ideas on what
> medieval clothing would most closely come to the costumes.

Robin's lecture about the Victorians reminded me how much fun "aesthetic 
dress" is.  Arwen's costumes remind me of this style.  It has 
medievalish elements, but isn't medieval at all.  I tried a google 
search to find some sites, but the first couple of pages of hits didn't 
turn up a lot that was really illustrative.


cv
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On Sat, 15 Nov 2003, Cynthia Virtue wrote:

> Sue Clemenger wrote:
> > Well, locally, we have a young lady (age 13 or so) completely enamored
> > of the clothing Arwen wears.  Her folks are looking for ideas on what
> > medieval clothing would most closely come to the costumes.
> 
> Robin's lecture about the Victorians reminded me how much fun
> "aesthetic dress" is.  Arwen's costumes remind me of this style.  It
> has medievalish elements, but isn't medieval at all.  I tried a google
> search to find some sites, but the first couple of pages of hits
> didn't turn up a lot that was really illustrative.

This has nothing to do with making an Arwen dress, but here are some sites
on aesthetic dress that might interest people looking for that:

http://www.fashion-era.com/aesthetics.htm
	Tiny pictures, but lots of summary.

http://web.nwe.ufl.edu/~kchancey/corsetaesthetic.html
	Looks like the pictures on this site are taken from Stella Mary
Newton's book on Dress Reform -- I had a couple of those as slides in my
lecture (and that's where I got them). Note the quote at the end from Mrs.
Haweis, whom I quote in the lecture -- she's the one that posits that
Elizabethan dress is a misguided rehash of "Ancient Roman" elements.

http://costume.osu.edu/Reforming_Fashion/reformdress.htm
	Includes a section on Artistic Dress.

--Robin

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> Occasionally, the interviews give interesting insights into the mind 
> of the rare genius, but more often than not it just exposes the fact 
> that the filmmakers aren't that smart or inspired, just lucky.

I'm new to the whole world of DVDs (took me a while to give up my VHS 
machine) but I have to say that those "director's commentary" segments 
are so hilariously bad!  I was watching the "Gosford Park" out takes 
with the director's commentary and honestly, they couldn't have found 
people who knew less about the movie than the director!  LOL!  Every 
single segment started off with "What was this scene about?  Uhhh.... 
Oh yeah, it was that thing about, um..."

What persuaded me to buy a DVD player in the first place was the 
special edition DVD of "Pride & Prejudice" which promised a tempting 
"Making Of..." feature.  What a bomb!  It didn't talk about anything I 
was interested and spent, like, 0.3 seconds on the costumes!  :P

Sarah
http://www.modehistorique.com

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Tasha McGann <demontsegur@yahoo.com> wrote:
> The Dead
> Rabbits existed. Five Corners existed and looked
> almost exactly the way it was portrayed in the movie,
> according to period photos. The original book,
> published in 1928, is actually a fascinating read in
> that "can't look away from the trainwreck" kind of
> way. It's a grim reminder that gang violence hasn't
> changed much in 200 years. 

Actually, Roche's Guard existed.  The name "Dead Rabbits" was something
the Bowery Boys called the Guard.  And contrary to the urban legends, the
term "Dead Rabbits" appears to have meant "pickpockets."  So it was in the
nature of a slur.  The press picked up the name and kept at it after the
riot, despite people in Five Points writing letters to the editor that 
there was no such gang as "The Dead Rabbits."  

I just got finished reading a more recently released book on Five Points,
which made use of some of the data from the archeological digs they've
done in the area.  Compared to the Election Day riots of the 1830s and 
1840s, the Bowery Boys Riot wasn't that much more extreme.  It's just that
things had calmed down some in Five Points by the time that riot happened.

The irony about the Bowery Boys Riot was that the thing that initially
set it off was a set of out-of-work policemen wandering off their "turf"
to harrass the new Metropolitan Police.  The police departments had just
been revamped in an attempt to cut down on the amount of graft and corruption
that went on and a lot of men who'd gotten their spots on the old police
force through bribes and political favors were suddenly out of jobs.

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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Dear Carolyn,
I think this would be a very good solution to use. But as i have not ben
experimenting witht his, please dont take my word for it being good. But for
experimental use, it could be nice.
Another alternative would be to use those narrow plastic bones, called
wedding bone. I have made corsets of this many times, it is not that
expensive, and i think it shapes very well.
There are many ways to do it.
Wedding bone has the same width as the original old whalebones, so it fits
very well.
Ian the staymaker in England who makes such beautifull corsets, uses
ridgeline, and you cant se that when you look at his corsets.
Apropos corsets, have you corsets and crinolines?
Have you studyed the baroque corsets, late 17th early 18th. century ones?
When you look at how the bones are set in the tabs, how would this be made,
when the bones goes right out to the edge of the fabric, there is no space
to sew outside the bones?
Is this just a rough sketch of how the bones is placed, otherwise i think it
is impossible to do.
That is another story.

Bjarne, who just finished a corset, with straight grain binding.





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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Just buy cheap stuff (at first), say a few good words over your
scissors before you cut (actually, I often ask my hubby or my mother
to "bless" my scissors!) and GO for it!

Rima

Hi Rima,
This is a good idea. I have ben sewing for many many years now, and i tell
you, i have a scary time two whenever i am cutting fabric. I guess it never
ends.

Bjarne







Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] Books vs movies was: elizabeth
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On Sat, 15 Nov 2003, Cynthia Virtue wrote:

> Sue Clemenger wrote:
> > Well, locally, we have a young lady (age 13 or so) completely enamored
> > of the clothing Arwen wears.  Her folks are looking for ideas on what
> > medieval clothing would most closely come to the costumes.
> 
> Robin's lecture about the Victorians reminded me how much fun "aesthetic 
> dress" is.  Arwen's costumes remind me of this style.  It has 
> medievalish elements, but isn't medieval at all.  I tried a google 
> search to find some sites, but the first couple of pages of hits didn't 
> turn up a lot that was really illustrative.
> 
> 
> cv
> _______________________________________________
> h-costume mailing list
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> 
  Well, all this talking about LOTR costumes (plus the fact that I 
drooled over the pictures of the exhibit at the Science Museum in London 
this morning) have really motivated me to see to 1) read the books again 
and 2)make some wearable and similar costumes/clothing. Being completely 
enamoured with the Arts and Crafts period and Aesthetic clothing of the 
Victorian era, I have been trying to soak up every little bit of info I 
can get on it. Who is Robin? What did he/she lecture on? Has anyone tried 
those La Mode Bagatelle aesthetic dress patterns? Are they any good? (I'm 
always wary of the pictures on the package...) Are there any good books 
out there explaining/depicting aesthetic dress? 
 Regarding the exhibit in London: I dont' know if anyone mentioned it 
before, but the whole exhibit is going on tour and will be in Boston, MA 
at the Science Museum in August 2004 (for all you folks in the US).

  I'll shut up now.

  Kate!


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Subject: Re: [h-cost] bamboo blind slats as corset bones???
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In a message dated 11/15/2003 5:45:58 AM Eastern Standard Time, 
kayta@frys.com writes:
I'm making mid-18th Century stays.  The originals I see are solidly boned 
with single lines of stitching between the bones.  So assuming I bone the 
entire area of my stays, can I use the slats from bamboo blinds for the bones?


I don't know much about bamboo "bones", but they don't sound terribly 
strong/stable to me, based on what others have said.  On the other hand, I know of 
several women who swear by cable ties, which is what I plan to use for my next 
corset.  You can get the "extra" heavy-duty ones, which have (according to the 
website I plan to purchase them from) 175 pound tensile strength, and are just 
over 1/4" wide.  I've found a pack of 50, 36" long each, for $8.90-$9.80, 
depending on whether you want them in natural (cheaper) or black.  The site I 
plan to use is: http://www.cabletiesplus.com/ 
Hope this helps!

Christine
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Subject: Re: [h-cost] Aesthetic dress, was books and movies etc.
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Oops. Please disregard my last message. I didn't read on enough to see 
that my questions have been answered! SOrry!

  Kate!


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Robin Netherton wrote:
> http://costume.osu.edu/Reforming_Fashion/reformdress.htm
> 	Includes a section on Artistic Dress.

Oh, right -- after I first posted, my mind started working a bit more:

A dress worn by Arwen in the movie:
http://www.theonering.net/scrapbook/group/987/view/8569

One from Robin's link -- last one on the page:
http://costume.osu.edu/Reforming_Fashion/impact_of_dress_reform_on_fashio.htm

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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To: Historical Costume <h-costume@indra.com>, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] A couple of things....
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At 11:54 PM 11/14/2003 -0600, Pierre & Sandy Pettinger wrote:
>Margo said,
>>It has been heavily revised for better
>>fit and more historical accuracy.
>Margo, if one already has the original pattern, is there anything (short of 
>buying another pattern) to get an idea of what the revisions are?  Would 
>you think about doing a "update sheet" or something for a small fee?  Just 
>curious - have had the pattern for a while, but still haven't worked my way 
>down through the "to do" project stack to that one yet.
>

I'm hoping to work out an "upgrade" package, but it will probably be a few
months before I have it ready, as I'm in the throes of producing second
editions of all three of the original Lady's patterns, as well as the
Comfort Ensemble (kirtle, loose gown, and coif, with maternity and
breastfeeding options) which will be released in January.

Margo



"One Tough Costumer"

www.margospatterns.com
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Hi,

I've been asked to work on my embroidery at a Dickens fair.
The idea is that I will be sitting near a window in a house wear Queen 
victoria is the lady of the house.
I don't have a clue what to wear. Something not too fancy..
I've heard that the queen will be played by an old lady.
Would I bee like a servant?? Or young lady??
It is unfortionally not a period I know much of and I have very little 
time to make a costume.
And I like to be as historically acurate as possible.

Greetings,
        Deredere


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Hi Deredere,
When queen Victoria is an old lady, then it should be something like 1870ies
perhaps, and not a servant, i think, because Victoria would not permit her
servants to embroider i think, well maybe in their sparetime, but that would
be very little time. So perhaps a lady in waiting.
Just my thoaghts. Could you not use your farthingale as a substitute for a
crinoline, and also the corset?
Then you could make a bodice and skirt, + a white apron and a little white
cape for the head?

Just my 2 cents.






Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Aesthetic dress, was books and movies etc.
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On Sat, 15 Nov 2003, Catherine Ussailis wrote:

> Oops. Please disregard my last message. I didn't read on enough to see
> that my questions have been answered! SOrry!

I think we missed a few:

> Who is Robin? What did he/she lecture on?

Cynthia was referring to a lecture I gave last week in Boston on the
Victorian influence on modern understanding of medieval clothing. I
touched on Aesthetic dress. (Some other people on this list have heard the
lecture elsewhere.)

> Has anyone tried those La Mode Bagatelle aesthetic dress patterns? Are
> they any good?

I haven't tried anything from the Aesthetic period, but I believe Folkwear
has an "Artistic Tea Dress" also ... but maybe I'm mixing that up with
another company.

> Are there any good books out there explaining/depicting aesthetic
> dress?

Stella Mary Newton:  "Health, art and reason : dress reformers of the 19th
century."

--Robin

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In a message dated 11/15/2003 2:19:33 PM Eastern Standard Time, 
drewscph@post12.tele.dk writes:

> When queen Victoria is an old lady, then it should be something like 
> 1870ies
> perhaps, and not a servant

Or the 1880s or 90s. It might be easiest to find an 1890s outfit. I'm not 
sure why I think this. At any rate, a 90s outfit wouldn't require a bustle or 
hoop of any kind. Just the right petticoat.

And you'd most likely be a lady not a servant. You could wear a nice but not 
flamboyant gown. If you do 90s it could be a jacket, shirtwaist and skirt. But 
the 90s aren't really "Dickens".

Remember "Mrs. Brown"? I remember it being past crinoline, but the ladies in 
waiting were wearing hoops. I remember wondering if this was because of some 
old, unchanged rule regarding dress around the queen. If you want "Dickens", 
you might want to check out what they're wearing in the film.
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Subject: Re: [h-cost] Dickens dress question
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Y'know, a nice 1860s dress isn't hard to make really. It does take yardage. 
And don't forget Simplicity 9761, 9764, 9769. Not perfection I know, but 
depending on how you fit it and what you make it out of, you can get a good result. 
If you already know how to sew, you could skip a mockup.
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Y'know, a nice 1860s dress isn't hard to make really. It does take yardage. 
And don't forget Simplicity 9761, 9764, 9769. Not perfection I know, but 
depending on how you fit it and what you make it out of, you can get a good result. 
If you already know how to sew, you could skip a mockup. I might just do a 
simple skirt...selvage to selvage panels...rather than tiers...and accessorize 
with great stuff.
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From h-costume-bounces@indra.com  Sat Nov 15 16:32:33 2003
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To: Historical Costume <h-costume@indra.com>, h-costume@indra.com
From: Margo Anderson <margo@margospatterns.com>
Subject: Re: [h-cost] Re: Costume Movies
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Cooincidentally, I happened to see "Gangs of New York" last night.  I HATED
the women's costumes.  Lots of multi-layeres ruffled and flounced skirts
and peasant blouses, in bright colors, topped with corsets, for STREET
wear. They looked like particularly clueless Renn Faire patrons. Even
granted that many of the characters were prostitutes and other underworld
denizens, this could have been done with more accuracy and still have
looked just as tawdry as needed.  Some of these outfits were topped with
jackets that would have been fine if the film were set in the 1890's, with
flared peplums and wide lapels. And Irish Catholic immigrant women coming
out of a church, at a funeral, bareheaded!!! 

All in all, I was VERY surprised to see Sandy Powell's name on this. I
usually like her work, but these costumes were off enough to be seriously
distracting from a GREAT movie.

There was one scene in a mansion, where we see three women in the
background.  All of them were wearing dresses which were quite lovely in
their detail, I could tell exactly which plates out of Godey's Lady Book
they were from.  Given the rest of the mishmosh, I found myself wondering
if they were built for the film or rented from a stock company.  

Margo



"One Tough Costumer"

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From h-costume-bounces@indra.com  Sat Nov 15 16:33:43 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Dickens dress question
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Deredere Galbraith wrote:

> Hi,
> 
> I've been asked to work on my embroidery at a Dickens fair.
> The idea is that I will be sitting near a window in a house wear Queen 
> victoria is the lady of the house.
> I don't have a clue what to wear. Something not too fancy..
> I've heard that the queen will be played by an old lady.
> Would I bee like a servant?? Or young lady??
> It is unfortionally not a period I know much of and I have very little 
> time to make a costume.
> And I like to be as historically acurate as possible.
> 

Dickens wrote from 1834 to his death in 1870, so I would think you would 
not want to do a time period past that date. In 1870 Victoria would have 
been about 51. Maybe that is old enough.

Most of the 'Dickens Fairs' that I have seen use the years about 
1850-1860 for their costuming. These are big skirts and no bustles.

Here is a site that has some pictures: http://www.dickensfair.com/

There are some pictures here but some of these ladies do not look 
properly dressed to be sitting with the queen. :
http://public.fotki.com/lomoportfolio/public_events/2002_dickens_fair/




Dawn



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From h-costume-bounces@indra.com  Sat Nov 15 17:32:21 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Dickens dress question
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Hi,

I've asked and they don't really care if my costume is from the same year.
As long as it is dickens style.
I love this dress
http://www.bowesmuseum.org.uk/collections/image.php3?Name=Wedding+Dress&image=1963-773-a-b-c-cst-742.jpg
But would that work in dark red tafetta??
I may have just enough fabric for it.
It is maby a little too early..

>
> Dickens wrote from 1834 to his death in 1870, so I would think you 
> would not want to do a time period past that date. In 1870 Victoria 
> would have been about 51. Maybe that is old enough.
>
> Most of the 'Dickens Fairs' that I have seen use the years about 
> 1850-1860 for their costuming. These are big skirts and no bustles.
>
> Here is a site that has some pictures: http://www.dickensfair.com/
>
> There are some pictures here but some of these ladies do not look 
> properly dressed to be sitting with the queen. :
> http://public.fotki.com/lomoportfolio/public_events/2002_dickens_fair/ 

:-) :-) :-)

>
>
>


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Subject: [h-cost] was: Dickens dress question
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>Or the 1880s or 90s. It might be easiest to find an 1890s outfit. I'm not
>sure why I think this. At any rate, a 90s outfit wouldn't require a bustle 
>or
>hoop of any kind. Just the right petticoat.
>


I have an 1890's walking ensemble with a hat and reticule that I made for a 
parade and then gained too much weight to wear it.  The trim is hand beaded 
and the hat is fantastic.  Do any of you who do Dicken's fairs think I could 
sell it for the cost of fabric to one of the faire groups?  I really want to 
try again in my new size but can't buy more fabric now that the parade is 
passed.  I have pics of my teen daughter in it, but she never wants to be 
that dressed up again.  I'd be happy to email them as I can't put them on 
the web.

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

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

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From: Gail & Scott Finke <gailscott@eos.net>
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Arwen's costumes in LOTR are pure fantasy, as far as I recall. And all over
the map, too! She's got medievally stuff in one scene, a Greek Chiton in
another. Pretty, but not based on any one culture or era. Sorry!

Gail Finke


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Date: Sat, 15 Nov 2003 21:04:56 -0800
To: Historical Costume <h-costume@indra.com>
From: Chris Laning <claning@igc.org>
Subject: Re: [h-cost] Re: elizabeth
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At 1:43 PM -0800 11/13/03, Jen Small wrote:
>What's interesting to me about Elizabeth is that everyone seems mad 
>that it is not historically accurate.  The information about packets 
>distributed to schools is particularly surprising to me, because if 
>you listen to the director's commentary, it's very clear he is not 
>trying to do a biopic, but rather a dramatic story "based on" the 
>life of Elizabeth.  Timeframes are compressed, characters combined, 
>and some stuff entirely made up.  When you listen to the director, 
>he is totally unapologetic about this, and actually points out with 
>delight the things that ARE historically accurate.

Yeah, it's those "educational" packets that annoyed me particularly.

Some of my costuming friends were amused when they went to see the 
film because -- according to them -- the director had instructed the 
costumers NOT to base any of their costumes on actual historical 
originals. However, he apparently didn't know enough about the art of 
the period to be able to tell when they did -- since if you actually 
DO know, you can spot several places where some rather well-known 
paintings were clearly the inspiration.

Reminds me of a rather odd "costume" film (if you can call it that) 
that still gives me the shivers in spots -- "Therese," about St. 
Therese of Lisieux. Well, of course most of the costumes are the 
nuns' religious habits, and as far as I can tell, they are dead-on 
accurate. What gives me the shivers, though, is that St. Therese was 
one of the first well-known saints to have lived into the era when 
photography became common, so we have a few actual photos of her. 
Most of them are group pictures showing all the nuns in the convent 
together; the best-known one is of them out in the courtyard rinsing 
laundry. At least twice during the film, without any particular 
dramatic notice being taken of the fact (i.e. no subtitle, no 
dramatic camera freeze, etc.) there are moments when the exact pose 
of one of the photos we have is quietly re-created in front of us by 
the actresses in the film, in eerily correct detail, held for just an 
instant, and then the action and the dialog flow on. Great directing.

Actually, I went to see this movie twice (and you can ask my friends 
how often I go to movies at all -- maybe once in five years?) and, 
aside from the rather strange modern sets -- including Therese's 
frilly, poufy 19th-century bed at home, which was set all by itself 
in the middle of a large, bare concrete stage -- they actually did 
stay remarkably close to the actual story, including a lot of small 
details that most people would never notice. (I believe I saw a 
couple of nuns in the background of one scene using actual monastic 
"sign language", for instance.) And I believe the movie was quite 
successful. So much for the claims that it can't be done :)
-- 
_________________________________________________________
O    Chris Laning
|     <claning@igc.org>
+    Davis, California
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] Dickens dress question
Date: Sun, 16 Nov 2003 01:49:40 -0500
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On Saturday 15 November 2003 05:36 pm, Deredere Galbraith wrote:
> Hi,
>
> I've asked and they don't really care if my costume is from the same year.
> As long as it is dickens style.
> I love this dress
> http://www.bowesmuseum.org.uk/collections/image.php3?Name=Wedding+Dress&ima
>ge=1963-773-a-b-c-cst-742.jpg But would that work in dark red tafetta??
> I may have just enough fabric for it.
> It is maby a little too early..

Frankly, I'd say the Bowes museum dress would be just fine period wise.  It 
looks to be from the early to mid-1840s, which should be about right for 
Dickens (even if Dickens fairs do use later styles).



-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Dickens dress question
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>I've asked and they don't really care if my costume is from the same year.
>As long as it is dickens style.
>I love this dress
>http://www.bowesmuseum.org.uk/collections/image.php3?Name=Wedding+Dress&image=1963-773-a-b-c-cst-742.jpg
>But would that work in dark red tafetta??
>I may have just enough fabric for it.
>It is maby a little too early..

This is an evening dress, rather than a day dress in which someone would be 
embroidering.  Do they care about that?  If not, do the dress anyway.

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

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Subject: Re: [h-cost] A couple of things....
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Hi Margo,

Your patterns are really very nice!  One thing if you are doing a second
edition to consider would be the addition of hose to the underthings
package.  I don't know if this was an oversight as most CA ren folk don't
wear hose, or if it was a conscious decision, but a pattern for hose goes
quite well with the rest of the underthings collection and seems an
essential part of the whole "underwear" line.

Lisa Sinervo
www.thrednedlestrete.com


----- Original Message -----
From: "Margo Anderson" <margo@margospatterns.com>
To: "Historical Costume" <h-costume@indra.com>; <h-costume@indra.com>
Sent: Saturday, November 15, 2003 9:08 AM
Subject: Re: [h-cost] A couple of things....


> At 11:54 PM 11/14/2003 -0600, Pierre & Sandy Pettinger wrote:
> >Margo said,
> >>It has been heavily revised for better
> >>fit and more historical accuracy.
> >Margo, if one already has the original pattern, is there anything (short
of
> >buying another pattern) to get an idea of what the revisions are?  Would
> >you think about doing a "update sheet" or something for a small fee?
Just
> >curious - have had the pattern for a while, but still haven't worked my
way
> >down through the "to do" project stack to that one yet.
> >
>
> I'm hoping to work out an "upgrade" package, but it will probably be a few
> months before I have it ready, as I'm in the throes of producing second
> editions of all three of the original Lady's patterns, as well as the
> Comfort Ensemble (kirtle, loose gown, and coif, with maternity and
> breastfeeding options) which will be released in January.
>
> Margo
>
>
>
> "One Tough Costumer"
>
> www.margospatterns.com
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>


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No, I'm not the seller. But will someone PUHLEEZ go buy this? I'm sure
there are loads of people on this list who'd love their own copy.

Mine cost $35 at a used bookstore in 1982, and I was happy to get it then.

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3566258467&category=2234&rd=1

(Now, don't y'all get into a bidding war with each other, OK?)

--Robin


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Thank you all for the info!!

:-) :-) :-)
Looks like dark red is possible
http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG

But I still have one question. I found some pictures of ballgowns with 
long sleeves.
Are they sewn in to the dress or could the be detachable as in 16th 
century dresses??


Greetings,
        Deredere




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In a message dated 11/16/2003 11:15:40 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:

What a yummy dress that wedding gown is! The sleeves date it 1840s [notice 
under the cape on the right how the back of the sleeve has ease....almost 
gathers....at the elbow that don't continue to the front. These are tight sleeves so 
the ease is needed. I wonder if they are bias.

> But I still have one question. I found some pictures of ballgowns with 
> long sleeves.

Remember a wedding dress is not a ball gown. And day dresses in the 1840s can 
have low horizontal necklines. I'd make the gown with the low neck and long 
sleeves and make the cape so it can close for "modesty". Or fill in the open 
neck with a lace or delicate needlework chemisette. There are patterns for them 
in Janet Arnold.

If you get the film [actually 2 films] "Little Dorrit" you will see every 
variation of 1840s fashion very very accurately depicted. The second film 
["Little Dorrit's Story"....the 1st film is "Nobody's Fault"] is the one that will 
show you the upper crust of society.



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Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used
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 The witch of the North was a friend of the Munchkins. In the book, she is the one who tells Dorothy about the shoes and sends her to the Wizard.  Wendywww.hecate.ca/emma/--- On Fri 11/14, Marc Carlson &lt; marccarlson20@hotmail.com &gt; wrote:From: Marc Carlson [mailto: marccarlson20@hotmail.com]To: h-costume@indra.comDate: Fri, 14 Nov 2003 22:48:41 -0600Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I usedLisa Sinervo wrote:&gt;A movie that I never liked was the Wizard of OZ. Almost hated it in fact&gt;because I always wondered why anyone would make a movie with only a witch &gt;of&gt;the North, East and West and no witch of the South.Another case in which the movie doesn't follow the books. Even leaving out the Thompson and Neill books, Glinda was the Witch of the South, and the Good Witch of the North was not named, but was mentioned. Mombi may have been the deposed Wicked Witch of the North, if you accept the later intepretations. I believe that Thompson !
 mentioned a Good Witch of the West as well later on, but my memory may be faulty.I've alway been sorry that the movie never went with Glinda's slinky red dress :)Marc_________________________________________________________________Send a QuickGreet with MSN Messenger http://www.msnmessenger-download.com/tracking/cdp_games_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Davenport on eBay, cheap
Date: Sun, 16 Nov 2003 12:35:28 -0500
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On Sunday 16 November 2003 12:10 pm, Robin Netherton wrote:
> No, I'm not the seller. But will someone PUHLEEZ go buy this? I'm sure
> there are loads of people on this list who'd love their own copy.
>
> Mine cost $35 at a used bookstore in 1982, and I was happy to get it then.
>
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3566258467&category=2234
>&rd=1
>
> (Now, don't y'all get into a bidding war with each other, OK?)

I should have my own copy of Davenport, so I just bid.  However, I would be 
surprised if I don't lose out to some more desperate soul at the last minute.

Thanks for the heads-up.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Sunday 16 November 2003 11:20 am, Deredere Galbraith wrote:
> Thank you all for the info!!
>
> :-) :-) :-)
>
> Looks like dark red is possible
> http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
>
> But I still have one question. I found some pictures of ballgowns with
> long sleeves.
> Are they sewn in to the dress or could the be detachable as in 16th
> century dresses??

To the best of my knowledge, mid-19th century gowns did not have detachable 
sleeves.  However it was common, at least from the 1860's onward, for the 
bodice and skirt to be two separate pieces (though made of the same fabric) 
and it was not unheard of for a woman to have two bodices for the same 
gown--one with a high neck and long sleeves for day wear, and one with a much 
lower neck and short or no sleeves for ballgown wear.

I don't think the separate skirt and bodice technique was used as early as the 
1840s.  However, if Dickens groups tolerate use of 1850s or 1860's styles, 
you could do this easily.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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 Horrible costumes, bad accents and dumb storylines aside, Kevin Costner's Robin Hood still ranks as one of my least favourite movies because of the funny attempted rape scene at the end. Around the same time, another Robin Hood came out straight to video with Patrick Bergin and Uma Thurman. It's wonderful. Historically it's very good, the acting is great and the dialogue is fantastic.Cheers,Wendywww.hecate.ca/emma/--- On Fri 11/14, Gail &amp; Scott Finke &lt; gailscott@eos.net &gt; wrote:From: Gail &amp; Scott Finke [mailto: gailscott@eos.net]To: h-costume@indra.comDate: Fri, 14 Nov 2003 19:25:00 -0500Subject: [h-cost] Re: kostner robin hoodSarah wrote:&gt; &gt; I actually like the movie now. I sat down and watched it for the&gt; first time in ten years a couple years back and enjoyed it. Maybe I'm&gt; going soft in my old age...&gt; &gt; Nah. ;)&gt; Yeah. :-) We're talking about the one with the peasants living in secrettree houses, right? And Robin Hood all angst-ridden a!
 bout his fatherremarrying? And the Sherrif of Nottingham somehow being able to be king ofEngland? Maybe you need a nice rest and relax...(note for the humor-challenged -- that's a JOKE)Again, historic or literary accuracy isn't necessary for a movie (or elseI'd have to hate "The Wizard of Oz," one of the greatest movies ever made).But at least make it plausible! I'm afraid "The Robin Hood That Must Not BeNamed" will never make my "watchable" list. But we all have different lists.Gail FinkePS: "The African Queen" also bears little relation to the book, though noone seems to mind. Ditto with "Bedknobs and Broomsticks," which has only thecharacter's names in common. And "Chitty Chitty Bang Bang," one of myfavorite family costume movie musicals. And "Mary Poppins."_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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From: "M. Burns" <sparrow@theworld.com>
To: <h-costume@indra.com>
Subject: Re: [h-cost] Aesthetic dress, was books and movies etc.
Date: Sun, 16 Nov 2003 12:57:47 -0500
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> Has anyone tried those La Mode Bagatelle aesthetic dress patterns? Are
> they any good?

I've made the View C underdress, out of silk dupioni.  I haven't yet made
the overgown as I've been short on funds and haven't had much of an occasion
for such a thing yet.  The sewing was a little troublesome, but I think that
has a lot to do with my choice of fabric.  I don't know whether LMB was
relying on particular photos or examples in particular, as they don't really
document their sources, but I do think they're lovely dresses.  I'll post to
the Great Pattern Review if/when I get around to completing the ensemble.

Maura

**********
Prophecy was a faith for the ignorant and a diversion for
the rich, and I was neither.       -(Emma Bull, Bone Dance)


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From: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.10.10311161107200.26108-100000@shell.nightowl.net>
Subject: Re: [h-cost] Davenport on eBay, cheap
Date: Sun, 16 Nov 2003 13:00:16 -0500
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For the more impatient among you, there are 41 copies on offer at Abebooks-
http://www.abebooks.com/
starting as low as $20.00.  Davenport comes in a variety of editions, some
of which are broken into two volumes and some of which have smaller
dimensions than the edition I have.  Check the listing carefully before you
buy.
                 -Helen/Aidan


----- Original Message ----
From: "Robin Netherton" <robin@shell.nightowl.net>
To: "Historic Costume List" <h-costume@indra.com>
Sent: Sunday, November 16, 2003 12:10 PM
Subject: [h-cost] Davenport on eBay, cheap


>
> No, I'm not the seller. But will someone PUHLEEZ go buy this? I'm sure
> there are loads of people on this list who'd love their own copy.
>
> Mine cost $35 at a used bookstore in 1982, and I was happy to get it then.
>
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3566258467&category=2234&rd=1
>
> (Now, don't y'all get into a bidding war with each other, OK?)
>
> --Robin
>
>
> _______________________________________________
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From h-costume-bounces@indra.com  Sun Nov 16 13:11:54 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "H-Costume" <h-costume@indra.com>
Date: Sun, 16 Nov 2003 10:09:27 -0800
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Subject: [h-cost] OT Book Repair Question
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Considering the number of Librarians and bookaholics on this list <grin> I
thought I'd ask a question here.  I recently bought a copy of Birth,
Marriage and Death in Tudor England from an Amazon dealer.  The book is put
out by Oxford University Press in an "On Demand" binding.  This binding
looks for all the world like those cheap children's classics I remember from
the 1950's with a slick cover whose hinges break away as you look at them.
When the book came in the mail that's what had happened.  Both the front and
back inside hinges had torn, and the body of the book is nearly separated
from the binding.  What can I do to repair it into readability?

The seller has already offered to allow me to return the book for refund
(I'm not impressed), but the price was good, and I wanted a reading copy.

Suggestions on how to re-attach the binding?


Regina Romsey/Wanda Pease
Sit vis nobiscum.


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From: "Diane Maynard" <Camelothorse@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Dickens dress question
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I want that red dress !   I have no where to wear it but, I want it !   

Diane

----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 16, 2003 10:20 AM
Subject: Re: [h-cost] Dickens dress question


> Thank you all for the info!!
> 
> :-) :-) :-)
> Looks like dark red is possible
> http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
> 
> But I still have one question. I found some pictures of ballgowns with 
> long sleeves.
> Are they sewn in to the dress or could the be detachable as in 16th 
> century dresses??
> 
> 
> Greetings,
>         Deredere
> 
> 
> 
> 
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To: Historical Costume <h-costume@indra.com>
From: Sheryl Nance-Durst <sherylnd@kc.rr.com>
Subject: Re: [h-cost] Re:DVD scam
In-Reply-To: <A6048CA4-178D-11D8-A6FA-0003934DD4B0@modehistorique.com>
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At 09:03 AM 11/15/03 -0800, Sarah wrote:
>I'm new to the whole world of DVDs (took me a while to give up my VHS 
>machine) but I have to say that those "director's commentary" segments are 
>so hilariously bad!  I was watching the "Gosford Park" out takes with the 
>director's commentary and honestly, they couldn't have found people who 
>knew less about the movie than the director!  LOL!  Every single segment 
>started off with "What was this scene about?  Uhhh.... Oh yeah, it was 
>that thing about, um..."
>
>Sarah

You know, I only have *one* DVD that I watch over and over with the 
commentary on ...
Dark City. For those who have never seen it, it's a science fiction movie 
made in a
kind of film noir style. The commentary is done by Roger Ebert. He dissects 
the whole
movie scene by scene, offering interesting insights on the lighting, 
character development
and symbolism. I think I like the commentary track better than the dialogue 
sometimes!
(It also has some interesting 40's influences in the costumes.)

Sheryl Nance-Durst


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Davenport on eBay, cheap
Date: Sun, 16 Nov 2003 14:52:36 -0500
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On Sunday 16 November 2003 01:00 pm, Helen Pinto wrote:
> For the more impatient among you, there are 41 copies on offer at Abebooks-
> http://www.abebooks.com/
> starting as low as $20.00.  Davenport comes in a variety of editions, some
> of which are broken into two volumes and some of which have smaller
> dimensions than the edition I have.  Check the listing carefully before you
> buy.


I may do so--since I have already been outbid.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used
Date: Sun, 16 Nov 2003 12:11:08 -0800
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Okay, in L. Frank Baum's version of The Wizard of Oz there there are four
witches, North, South, East and West.  The North and South witches are good,
and the East and West witches are bad.  There is also a wizard who lives in
the City of Emeralds.

The favourite color in the land of the East is Blue,  and the munchkins are
delighted that Dorothy has worn a blue and white dress because blue is their
favourite colour and good witches wear white so they know she is a friendly
witch, plus they like the fact that she killed the wicked witch of the East.
Her shoes BTW were silver in the book.

Both the south and the north countries of OZ are represented by red in the
book.  Glinda, the witch of the South has a red castle and the witch of the
north has a castle made of ruby bricks.

In the movie, the witch of the south is absent, but the shoes that Dorothy
wears change from silver, to ruby, the symbol of the witch of the south and
good witches in general!  So I think, Dorothy represents the witch of the
South in the movie.  This of course is all coming from a symbolic thinker
and open for debate.  But The Wizard of Oz is a very good movie, that feels
complete.  If the witch of the South was absent completly, the movie would
feel the absence and I think more people would wonder where the missing
witch was.

Anyway, I now sleep at night and enjoy the movie much more these days.

Lisa

----- Original Message -----
From: "Wendy" <emmajean@myway.com>
To: <h-costume@indra.com>
Sent: Sunday, November 16, 2003 9:25 AM
Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies I used


> The witch of the North was a friend of the Munchkins. In the book, she is
the one who tells Dorothy about the shoes and sends her to the Wizard.
Wendywww.hecate.ca/emma/--- On Fri 11/14, Marc Carlson &lt;
marccarlson20@hotmail.com &gt; wrote:From: Marc Carlson [mailto:
marccarlson20@hotmail.com]To: h-costume@indra.comDate: Fri, 14 Nov 2003
22:48:41 -0600Subject: Re: OZ - Witch of the south? was Re: [h-cost] Movies
I usedLisa Sinervo wrote:&gt;A movie that I never liked was the Wizard of
OZ. Almost hated it in fact&gt;because I always wondered why anyone would
make a movie with only a witch &gt;of&gt;the North, East and West and no
witch of the South.Another case in which the movie doesn't follow the books.
Even leaving out the Thompson and Neill books, Glinda was the Witch of the
South, and the Good Witch of the North was not named, but was mentioned.
Mombi may have been the deposed Wicked Witch of the North, if you accept the
later intepretations. I believe that Thompson !
>  mentioned a Good Witch of the West as well later on, but my memory may be
faulty.I've alway been sorry that the movie never went with Glinda's slinky
red dress
:)Marc_________________________________________________________________Send
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Subject: Re: [h-cost] OT Book Repair Question
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Hi, Regina-
I can give you some suggestions if you supply the following information:
How many pages in the book?
What type of binding is the book block itself- sewn or glued?
What is the condition of the binding, other than the missing covers?
Has the book block separated into sections or is it still intact?
What's the page size?
I'm currently thinking Japanese, which I know I can walk you through for
minimal cost and effort.
                -Helen/Aidan


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> > And I read it 9 times
> 
> How many times have you read "Le morte d'Arthur"?

Once, by now - but what does it have to do with it?
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To Deredere-

At least in the _early_ 1840's, dresses did come with the option of 
removing the lower, long sleeves:

Bradfield Pg 175-176 (Costume in Detail)
Arnold Pg 64 and 66  (Patterns of Fashion)

Bodices were attached to the skirts as one piece but the those lower 
necklines were filled in with chemisettes for the day look.

Dicken's Faire can be a little rough-and-tumble (mostly from the 
uneducated non-costumed ones!!!), so something as fancy and elegant as 
the Marie Bourbon dress could be at risk for damage (trampling, spilled 
beer, the crush of humanity, etc.).  I've found a nicely constructed and 
trimmed day dress to be a lot safer!!

Good luck there,

Theresa Eacker

Deredere Galbraith wrote:
> 
> Thank you all for the info!!
> 
> :-) :-) :-)
> Looks like dark red is possible
> http://www.costumes.org/history/victorian/boehn/mariebourbon1845.JPG
> 
> But I still have one question. I found some pictures of ballgowns with 
> long sleeves.
> Are they sewn in to the dress or could the be detachable as in 16th 
> century dresses??
> 
> 
> Greetings,
>        Deredere
> 
> 
> 
> 
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> Hey there...  my .02
>
>          While there is some evidence supporting the creation of a silk
> similar to dupioni - Luca Mola's book on the Venetian silk industry - the
> evidence suggests that the material was specifically a fabric for
'domestic
> use'  and not a good enough quality fabric for fashion or export.
>
> Closer fabrics to the original would be if you could find a tuxedo satin
> silk (high gloss finish) ,  or a silk twill (non-high gloss finish)
> Good luck.
> Bridgette
>
> >I absolutely love the clothing of the period in florence and venice. Is
> >Dupioni silk appropriate for the era? I'd like to use it for my gown.
> >Camacia is lightweight linen I'd like to be as historically accurate as
> >possible, allowing for budget and the desert climate of extreme lower
> >Arizona. Thank you, (again) Angelique

I agree with this. While I wouldn't recommend dupioni, I wouldn't complain
too much if someone wanted to use it, as long as they are aware that (unless
I'm just not aware of it) there is no direct evidence of it being used for
clothing, at least in the higher classes. I have seen some silk called
dupioni that didn't have any slubs at all - maybe it was just mislabeled -
that might be a solution for you if you still want dupioni.

And if you go with silk, remember to flatline it with something that
breathes (linen is great imo, because it drapes well, is heavy and breathes
well) to get it to hang well, because silk is usually very light.
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Subject: LOTR Re: [h-cost] Books vs movies was: elizabeth
Date: Sun, 16 Nov 2003 16:10:06 -0500
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> Books and movies are vastly different mediums, thank goodness.  Each
> have their strengths and weaknesses.  Jackson did the best he could in
> filming a series of book that have taken on religious proportions with
> some people.  He's got a pair of brass ones just for that fact alone.
> The movies are brilliantly executed, even though I have been extremely
> displeased with some plot changes.  I would have given my eye teeth to
> work in the costuming department.

I'll try to make this my last comment on the matter, because, really, this
is getting far from historical costume matters :-)

I just take it this way: the first movie was amazing. Yes, he did change
things, but they were consistent with the book, even if they didn't follow
at all what happened in it. I expected a lot from the second movie because
of this. I was highly disappointed. Not because he changed things, but
because he made things up that were impossible or had no place in the
universe of the books.
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Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
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> For the same reason stuff is *always* included in the DVD version--to
provide
> extra material so the distributors can justify a higher price.  :-(  (I'm
> really beginning to hate the DVD format for this reason--the "extras" are
> just a waste of time in too many instances).

Depends how much you liked the movie. If it's one you're going to watch
10-15 times anyway, then you're probably interested in hearing director's
commentary, and actor's commentary. If not, then it's a waste of time.
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Subject: Re: [h-cost] A couple of things....
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> Margo said,
> >It has been heavily revised for better
> >fit and more historical accuracy.
> Margo, if one already has the original pattern, is there anything (short
of
> buying another pattern) to get an idea of what the revisions are?  Would
> you think about doing a "update sheet" or something for a small fee?  Just
> curious - have had the pattern for a while, but still haven't worked my
way
> down through the "to do" project stack to that one yet.

I was just about to say the same thing. I wouldn't mind paying for an
"updates" package. You told us a while back you were going to make the skirt
so it uses less fabric, and the bodice so the strap is sewn directly to the
front of the bodice. These are two things I would love to get, but I can't
really afford to buy a whole new set!
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Subject: Re: [h-cost] Books vs movies was: elizabeth
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> Well, locally, we have a young lady (age 13 or so) completely enamored
> of the clothing Arwen wears.  Her folks are looking for ideas on what
> medieval clothing would most closely come to the costumes.  I'm thinking
> something 11th or 12th century, but then I'm not *that* familiar with
> the movie (I've only seen the first installment, and that, only once).
> Am I at least on the right track?
> --sue

I think you're on the right track :-) Anything that could be called a bliaut
(I know, this is vague and doesn't mean what we think it means and...
and...) will probably do the trick.

But you'd be even better if you looked at Victorian drawings of medieval
dreses ehehe ;-)
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> I'm hoping to work out an "upgrade" package, but it will probably be a few
> months before I have it ready, as I'm in the throes of producing second
> editions of all three of the original Lady's patterns, as well as the
> Comfort Ensemble (kirtle, loose gown, and coif, with maternity and
> breastfeeding options) which will be released in January.
>
> Margo

I'm willing to wait. It's not like I have nothing to play with in the
meantime ;-)
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: LOTR was: Re: [h-cost] Re: elizabeth
Date: Sun, 16 Nov 2003 17:36:58 -0500
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On Sunday 16 November 2003 04:18 pm, Audrey Bergeron-Morin wrote:
> > For the same reason stuff is *always* included in the DVD version--to
>
> provide
>
> > extra material so the distributors can justify a higher price.  :-(  (I'm
> > really beginning to hate the DVD format for this reason--the "extras" are
> > just a waste of time in too many instances).
>
> Depends how much you liked the movie. If it's one you're going to watch
> 10-15 times anyway, then you're probably interested in hearing director's
> commentary, and actor's commentary. If not, then it's a waste of time.

Commentary can be interesting, depending on who it comes from (on the Babylon 
5 discs I have, Straczynski's commentary on some of the episodes are among 
the more interesting things on the discs.  Unfortunately, some DVDs don't 
confine themselves to that type of extra.  Most of the other Bab5 freebies on 
the disc (trite summaries of the space station functions that duplicate 
everything you could learn from the episodes, and pocket summaries of the 
characters) are a waste of time.  Some of the "making of" documentaries 
featured on the discs are pretty information light and a waste of time also, 
in my opinion.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Of possible interest to my costuming buddies.

Allison P.

Begin forwarded message:

>    Date: Thu, 13 Nov 2003 09:31:05 -0500
>    From: Paula Davis-Larson <pdavilar@bucknell.edu>
> Subject: Library Resource
>
> Hi all,
>
> In the November issue of "Choice", a bibliographic journal that most
> libraries use, a great essay can be found titled "Costume and Fashion
> History".  It is a useful tool for anyone working to round out your
> library's holdings in our subject area not to mention just having in
> the files.  It lists books in the categories of reference books,
> historical costume, by time period, couture, American, construction,
> cultural, and several more.  An excellent resource!  Contact your
> librarian!
>
> Best,
>
> Paula

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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] OT Book Repair Question
Date: Sun, 16 Nov 2003 17:34:22 -0800
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Helen/Aidan

	The book is actually brand new.  Oxford University Press has gone to a
glued rather than sewn.   The spine and boards are one piece of rather tacky
cardboard covered with a shiny plastic overlay with no reinforcement at the
hinges. They glue a piece of paper inside across the spine and possibly the
inside cover, fold the plastic jacket in and cover that with another piece
of paper over the inside cover and across the front of the carcass.  The
same for the back piece.

 	The carcass of the book is glued together.  No sewing in this book.

	Unfortunately when you set the book down hard, or send it through the mail
with inadequate packing, where someone tosses it into a bag with hundreds of
other small packages, those hinges tear.  Now I need a way of reattaching
the cover so I can use the book, which is fascinating and has great
pictures!

	It could be that this is the publishing wave of the future that some of us
have been requesting so we could get scholarly texts without having to have
a publisher do a big print run and get stuck with it, or do a small print
run and have only University libraries be able to afford it!  If this is the
case (pun intended) knowing how to fix the hinges is something we are all
going to want to know!

Regina Romsey

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Helen Pinto
> Sent: Sunday, November 16, 2003 12:07 PM
> To: Historical Costume
> Subject: Re: [h-cost] OT Book Repair Question
>
>
> Hi, Regina-
> I can give you some suggestions if you supply the following information:
> How many pages in the book?
> What type of binding is the book block itself- sewn or glued?
> What is the condition of the binding, other than the missing covers?
> Has the book block separated into sections or is it still intact?
> What's the page size?
> I'm currently thinking Japanese, which I know I can walk you through for
> minimal cost and effort.
>                 -Helen/Aidan
>
>
> _______________________________________________
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>
>


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Regina-

So the spine is in good condtion and all the pages are firmly attached
together?  And all that essentially happened is that the covers came off?

If you have no strong objections to the cover, you can re-attach it using
book repair tape.  This is a pre-gummed linen tape, 1 or 2 inches wide.  I'd
suggest the 2" tape.  Hollander's has it- it's the first item on this page:
http://www.hollanders.com/supplies-kits/bookbinding/bindingtapes.htm   A
really good art store might also stock it.  (If you really hate the covers,
use them as a template to cut something out that you like.)

Clean the book block up, if necessary, and cut a piece of tape the length of
the spine.  Fold it in half length-wise, unglued side in, and press the
crease with a bone folder.  The back of a spoon will work nicely if you
don't have a bone folder.  Wet the side going onto the front of the book
block and press it in place.  Let it dry for a bit, then wet the other side
and place the front cover on top.  Line it up and press it down, weight it
with another book, and leave it overnight.  Repeat with the back cover.  Add
some more re-inforcement by running another piece of tape to cover the spine
on the outside of the book and bring a small piece over the top and bottom
edge of the covers onto the hinge inside.  (If the book is too thick for the
tape, run several pieces of tape horizontally.)

I think this should salvage the book for a few years.

Another possibility is a Japanese binding, but this will only be possible if
the book block is less than 1/2" thick, and there is at least 3/4" of blank
space on the pages into the crease.  This will be a sewn, permanent binding,
and very attractive; you can customize the cover and stitching as you wish.
The reference is Kojiro Ikegami's _Japanese Bookbinding_.

This is what a Japanese sewn binding looks like:
http://www.dickblick.com/zz128/50/products.asp?param=0&ig_id=4857

If you want more information, just let me know.
               -Aidan


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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 updated page
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For those who are interested, I have a bunch of new images on my caul 
page.  The page discusses the look of the medieval earmuff type cauls 
and "hennin" underpinnings, and one method of making them which is 
almost certainly not medieval.

http://www.virtue.to/articles/easy_cauls.html

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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>http://www.virtue.to/articles/easy_cauls.html

Cynthia, about half the image links are broken right now.

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"
:wq
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>>>I wrote:

>When I saw "The Three Musketeers" when it first came out, I was 
>disappointed that the few genuinely dramatic moments were played down
in 
>favour of comedy - but perhaps that was just youthful idealism on my
part.

and Brenda replied:

>I felt the same way... but then I read the book. 

I meant that I saw the film having already read the book.


Kate Bunting
Library, University of Derby
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Kate Bunting
Library, University of Derby

>>> AlbertCat@aol.com 11/14/03 08:30pm >>> wrote:
>Your take on "A Knight's Tale" is interesting but....

>Did peasants [there's little or no middle class y'know] get to go to 
>tournaments? Shouldn't they be working???? They don't get the week end
>off, y'know.

I'm not a medieval expert and haven't seen the film in question, but
weren't there a lot of saint's day holidays? (I've read that
Shakespeare's reference in "Henry V" to "those men in England who do no
work today" doesn't mean the unemployed, but that it was St. Crispin's
Day, a religious holiday.)



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Subject: Re: [h-cost] Costume Movies
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Greetings--

> I'm not a medieval expert and haven't seen the film in question, but
> weren't there a lot of saint's day holidays? (I've read that
> Shakespeare's reference in "Henry V" to "those men in England who do no
> work today" doesn't mean the unemployed, but that it was St. Crispin's
> Day, a religious holiday.)

Almost every day is a saint's day of some kind.  However, the vast majority
of them were not observed as holidays (that is, non-working holidays).  The
ones that were were usually the big-name saints, perhaps a locally-important
saint or two, and the parish's patron.  Crispian and Crispianus, the two
saints of St. Crispin's day, were patrons of shoemakers as well, so it is
possible that trade guilds associated with shoemaking would have considered
this a feast day and not have worked.

Susan

Nicolaa

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Lee Thompson-Herbert wrote:
>>http://www.virtue.to/articles/easy_cauls.html
> 
> Cynthia, about half the image links are broken right now.

Thank you!  They should be fixed now.

cv
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Date: Mon, 17 Nov 2003 08:29:31 -0500
From: Lauren Walker <lauren.walker@comcast.net>
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Subject: [h-cost] Re: bamboo slats in stays
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> In a message dated 11/15/2003 5:45:58 AM Eastern Standard Time,
> kayta@frys.com writes:
> I'm making mid-18th Century stays.  The originals I see are solidly boned
> with single lines of stitching between the bones.  So assuming I bone the
> entire area of my stays, can I use the slats from bamboo blinds for the bones?

I'm having a bit of trouble getting my h-costume messages to sort in a
sensible chronological order -- time zones on the "sent" column perhaps? so
I may be wrong, but it seems to me this question did not get addressed.
Apologies if it did. The 18th C re-enactors around here use half-round chair
cane (which I think is bamboo, maybe, or reed) in 18th C stays, putting two
pieces in each channel, so that you get a roundish piece that has somewhat
more strength than a single slat alone would. It makes a pair of stays that
reminds me of Japanese fencing armor, but the reed appears to hold up pretty
well. Some folks soak the reeds in glycerin prior to use, and/or soak the
stays themselves in glycerin once a year to keep the reeds from drying out.

Again many apologies if this was already addressed, but I didn't see anybody
going for it.

Lauren

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Subject: [h-cost] 
	V&A Tapestry Gallery event 29 and 30 November 'Live a Gothic Life'
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Hi all,
For those interested in Gothic aristocratic and courtly life, not to
mention the Devonshire Hunting Tapestries, living in in striking
distance of London, this event looks pretty unmissable!

***************************************************************
LIVE A GOTHIC LIFE
 LIVING HISTORY AND DAILY LIFE EVENT
Saturday 29 and Sunday 30 November
11.00-17.00, free
For the first time, the V&A presents a living history weekend in the
splendid setting of the Tapestry Gallery. The backdrop of the
Devonshire Hunting Tapestries is ideal for these presentations of the
upper end of medieval life, where you can find out about aristocratic
and courtly life including hunting, eating and etiquette, daily life,
warfare and tournament. This will link closely to the objects on
display in the exhibition and would be an ideal accompaniment to a
visit to the exhibition.
**************************************************************
best wishes
Stevie

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From: "Stevie Gamble" <stevie.gamble@btinternet.com>
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Subject: [h-cost] ot Stevie sorry!
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Hi,
I've been in hospital with a rather spectacular bout of pneumonia, and
now that I'm out, and feeling a bit better, have managed to dump
rather a lot of emails by mistake. They included ones from h-cost
members visiting London, whom I had hoped to meet and do some
museum-crawling with, so sorry to those people!

best wishes
Stevie

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From h-costume-bounces@indra.com  Mon Nov 17 09:23:21 2003
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Date: Mon, 17 Nov 2003 06:17:55 -0800
Subject: Re: [h-cost] OT Book Repair Question
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Hi Regina--

I worked for a library in my teenage years. We used to repair books with
this problem by placing a strip of sticky book tape between the boards
and the block of pages. It was so long ago though that I have no idea
what the stuff is even called.

Have you considered calling a library and asking them? Also craft stores
which carry bookmaking supplies might be able to help. Art Media is a
good place to start. They also carry bone folders. One of my apprentices
gets all her bookcrafting supplies there.

Good luck!

Arlys


On Sun, 16 Nov 2003 17:34:22 -0800 "Wanda Pease" <wandap@hevanet.com>
writes:
> Helen/Aidan
> 
> 	The book is actually brand new.  Oxford University Press has 
> gone to a
> glued rather than sewn.   The spine and boards are one piece of 
> rather tacky
> cardboard covered with a shiny plastic overlay with no reinforcement 
> at the
> hinges. They glue a piece of paper inside across the spine and 
> possibly the
> inside cover, fold the plastic jacket in and cover that with another 
> piece
> of paper over the inside cover and across the front of the carcass.  
> The
> same for the back piece.
> 
>  	The carcass of the book is glued together.  No sewing in 
> this book.
> 
> 	Unfortunately when you set the book down hard, or send it 
> through the mail
> with inadequate packing, where someone tosses it into a bag with 
> hundreds of
> other small packages, those hinges tear.  Now I need a way of 
> reattaching
> the cover so I can use the book, which is fascinating and has great
> pictures!
> 
> 	It could be that this is the publishing wave of the future 
> that some of us
> have been requesting so we could get scholarly texts without having 
> to have
> a publisher do a big print run and get stuck with it, or do a small 
> print
> run and have only University libraries be able to afford it!  If 
> this is the
> case (pun intended) knowing how to fix the hinges is something we 
> are all
> going to want to know!
> 
> Regina Romsey
> 
> > -----Original Message-----
> > From: h-costume-bounces@indra.com 
> [mailto:h-costume-bounces@indra.com]On
> > Behalf Of Helen Pinto
> > Sent: Sunday, November 16, 2003 12:07 PM
> > To: Historical Costume
> > Subject: Re: [h-cost] OT Book Repair Question
> >
> >
> > Hi, Regina-
> > I can give you some suggestions if you supply the following 
> information:
> > How many pages in the book?
> > What type of binding is the book block itself- sewn or glued?
> > What is the condition of the binding, other than the missing 
> covers?
> > Has the book block separated into sections or is it still intact?
> > What's the page size?
> > I'm currently thinking Japanese, which I know I can walk you 
> through for
> > minimal cost and effort.
> >                 -Helen/Aidan
> >
> >
> > _______________________________________________
> > 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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Absolutely gorgeous Bjarne!  As usual :).

out of curiousity, did you make the lace?  and if so, will you share
the pattern?  I was just given a frament of 16thC lace very much like
this lace.  The main difference is that the 'fan' is worker with the
thinner threads and the gimp thread just weaves in and out on the inner
ovals.

Catherine
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] German book on medieval dress and textiles
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Anyone heard/seen anything about this one?

Mehthild Muller, Die Kleidung nach Quellen des fruhen Mittelalters.  
Textilien und Mode von Karl dem Grossen bis Heinrich III Walter de
Gruyter, Berlin and New York , 2003

--Robin


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From h-costume-bounces@indra.com  Mon Nov 17 12:03:40 2003
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Subject: [h-cost] Costume, movies and DVD's
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Whew, catching up from a long weekend.

I have also enjoyed many of the costume movies mentioned, and also
gnashed my costumer's teeth over a few too.  I am not as frustrated as I
used to be, having learned more about the theatricallity that *has* to
go into these over the years, but I still find it jarring when films
hype their authenticity, like Elizabeth & Braveheart, and don't deliver,
or blend drastically different styles, as in A Knight's Tale.  I enjoyed
all three of these but AKT probably gave me the most twitches.  My
husband bought me the DVD for Elizabeth as it was supposed to have a
'special feature' on the costumes but all I could really find was a
short bit in the general 'making-of' piece.  Nice to have the DVD pause
for studying however :).

And for those that wanted more of Faramir in LOTR, rent or buy the
extended version of Two Towers.  The new or expanded scenes greatly
rescue this character (not to mention give you another glimpse of Sean
Bean :) ).  

Catherine


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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] bamboo blind slats as corset bones???
Date: Mon, 17 Nov 2003 12:13:35 -0500
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>Does this idea seem feasible?  (I can't afford the dozens >of steel bones 
>for such a project.)  Alternatively, what else could I use >for bones that 
>would be really cheap but still do the job?

I've used bamboo slats from blinds quite successfully in an Elizabethan corset and a late Victorian Corset.  They were easy to cut, though tricky to get into tight channels with the splintering. I used heavy cotton duck on either side of the bones and the bottom of the channels.  I've washed both corsets several times with no deforming or staining, and no stray splinters.

Heidi


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If it's good enough, take it to a bookbinder and have it rebound. If it's
not that good, take it to a printer and have it drilled and spiral or Wiro
bound. Don't get that cheap plastic Ibico binding, the kind usually used for
course packs and things, unless you're only going to read it once or twice.
It holds up but the pages will rip if you refer to it a lot. Spiral and Wiro
binding can be done on any size book. If it's about 8.5 x 11 inches, you can
also go to a printer and have it drilled to fit a 3-hole binder. Again, not
a durable solution if you're going to refer to the book often. I don't know
how much professional bookbinding costs, but the other solutions will be
pretty inexpensive. Go to a real printer, not Kinkos.

Gail Finke

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From: Gail & Scott Finke <gailscott@eos.net>
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The new television version of "Dr. Zhivago" just played on our PBS station.
I don't know anything about the period, or clothing in Russia, but I enjoyed
the costumes (with the exception of Lara's "first grownup dress" -- what the
heck was that?). I was curious about several particular dresses, which Lara
is shown wearing when she lives in the Urals after the war. They look like
1920s-style day dresses, made from panels of Russian (Ukranian?) embroidery.
Accurate or not, they were fantastic dresses, especially on a tall, willowy
person of the kind favored at the time -- which Kiara Whats-her-name is.

I read a little about the production, and the director said that since so
many more people are familiar with the old movie than with the book, they
had to keep the movie in mind while they were filming this one. The actress
in the original (Julie Christy, right?) is such a familiar sight in her fur
hat and long hair that they show this Lara the same way many times. I
thought that was a fun touch, if you can have a fun touch in this kind of
movie. The ending is much sadder than I remember the ending of the old movie
being, even though I had no sympathy for Lara and Yuri's doomed romance.

Gail Finke

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In a message dated 11/17/2003 2:09:18 PM Eastern Standard Time, 
gailscott@eos.net writes:

> The ending is much sadder than I remember the ending of the old movie

Really? Him having a heart attack while trying to get her attention and he 
falls in the street....with strangers rushing to him....but she unaware turns 
the corner and walks away. [all that hydro-electic damn stuff was kinda for the 
USSR]

There are so many perfect images from David Lean's masterpiece....the winter 
palace, the twig tapping against the window, the petals falling from the 
sunflowers in the empty hospital, The broken glasses falling in the snow, the spark 
of the trolley when they 1st meet.....it's not an old movie of a book, it's 
art.

I had no interest in the remake. But they are the folks who did "Pride & 
Prejudice" so I don't mean to diss them. I don't think this project was such a 
good idea, that's all.
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Is it possible? I had been told by a dear friend of mine some time ago that they were nearly impossible to dye. I am hoping she meant RIT dye? I have a cream and some white and am hoping for a russet. What Do you think? Angelique


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me wrote:
> Is it possible? I had been told by a dear friend of mine some time ago that they were nearly impossible to dye. I am hoping she meant RIT dye? I have a cream and some white and am hoping for a russet. What Do you think? Angelique

The first question to figure out is: what is the fiber?

-- 
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Subject: [h-cost] dyeing Baroque or Bridal Satin?


> Is it possible? I had been told by a dear friend of mine some time ago
that they were nearly impossible to dye. I am hoping she meant RIT dye? I
have a cream and some white and am hoping for a russet. What Do you think?
Angelique

What is the fiber contents? I'm assuming it's synthetic - in this case,
you'll have to do a test first. Some synthetics can be dyed, but not all of
them. Nylon, for example, is nearly impossible to dye.

If I were you I'd open a pack of RIT, swirl some of it in a cup and dump a
small piece of fabric in it. If after rinsing it holds the color, you should
be fine. If not and you really want to dye your fabric, you'll have to find
dyes made specifically for synthetics.
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Subject: [h-cost] 1845 corset underwear question
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Hi,

If I want to make a 1845 corset and chemise witch one would be best?
I have Simplicity 5726 and 7215.
Is this is still pre hoop?

http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
        Deredere


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Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
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In a message dated 11/17/2003 3:46:18 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> If I were you I'd open a pack of RIT, swirl some of it in a cup and dump a
> small piece of fabric in it.

Boiling will sometimes get a tough fabric to take some color, so put your 
test on the stove too.

Boiling sometimes wrinkles the satin and it's impossible to get really smooth 
again. Be warned.
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On Mon, 17 Nov 2003, Audrey Bergeron-Morin wrote:

> If I were you I'd open a pack of RIT, swirl some of it in a cup and dump a
> small piece of fabric in it. If after rinsing it holds the color, you should
> be fine. If not and you really want to dye your fabric, you'll have to find
> dyes made specifically for synthetics.

Easier: Use liquid RIT, one teaspon to one cup boiling water.

--Robin

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To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Dickens dress question
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>Dicken's Faire can be a little rough-and-tumble (mostly from the 
>uneducated non-costumed ones!!!), so something as fancy and elegant as the 
>Marie Bourbon dress could be at risk for damage (trampling, spilled beer, 
>the crush of humanity, etc.).  I've found a nicely constructed and trimmed 
>day dress to be a lot safer!!

Yes what she said, so make your dress washable.


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

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Date: Mon, 17 Nov 2003 22:36:25 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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I"ll stay indoors and wil only sit near a window and embroider.
So I don't worry about my dress getting dirty.
People can only watch me from outside :-) .
Indoors is a nice idea because it is winter here in the netherlands.
The event will be 20 and 21 decemberrr...
And it can be wet, cold, and maby even snow.
Friends of me will be outside the whole day :-P .
I wiil be cosy and warm... And maby a little bored :-)


Greetings,
        Deredere

Carolyn Kayta Barrows wrote:

>
>> Dicken's Faire can be a little rough-and-tumble (mostly from the 
>> uneducated non-costumed ones!!!), so something as fancy and elegant 
>> as the Marie Bourbon dress could be at risk for damage (trampling, 
>> spilled beer, the crush of humanity, etc.).  I've found a nicely 
>> constructed and trimmed day dress to be a lot safer!!
>
>
> Yes what she said, so make your dress washable.
>
>
>        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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Subject: Re: [h-cost] 1845 corset underwear question
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In a message dated 11/17/2003 3:56:14 PM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> If I want to make a 1845 corset and chemise witch one would be best?
> I have Simplicity 5726 and 7215.
> Is this is still pre hoop?
> 

I think the 5726 looks more 1840s. The chemise should not have full sleeves 
since sleeve are tight in the 1840s. Both corsets seem OK. There's a great 1844 
corset in Norah Waugh's "Corset's and Crinolines" with gussets as well as 
shaped pieces like a "French corset". It's hard to see the exact cut of the 
corsets but I'd use the one that is closest to the Norah Waugh....IOW, with gussets 
and shaped pieces. I think that might be 7251.

If you can get a copy of "Corsets and Crinolines" and want to make up the 
real 1844 corset....I have and the waist is very much narrower than the large 
bust cups. A draw string in the top of the corset did the trick and looked good 
[you keep it smooth in the back of course]. I also put a bone down the center 
of each piece.


Have fun!
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Subject: Re: [h-cost] Dickens dress question
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In a message dated 11/17/2003 4:32:35 PM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> I wiil be cosy and warm... And maby a little bored :-)
> 

Don't forget you'll be absolutely lovely too in your red gown.
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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] German book on medieval dress and textiles
To: Historical Costume <h-costume@indra.com>
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On Mon, 17 Nov 2003, Robin Netherton wrote:

> 
> Anyone heard/seen anything about this one?
> 
> Mehthild Muller, Die Kleidung nach Quellen des fruhen Mittelalters.  
> Textilien und Mode von Karl dem Grossen bis Heinrich III Walter de
> Gruyter, Berlin and New York , 2003
> 
> --Robin
> 
  Just read the little ditty on amazon.de...Looks like the sort of thing 
that I would buy if I had the money. Knowing the Germans, it's probably 
very thorough (perhaps painfully so). Not sure where you are, but it 
seems that Berkeley Uni Library has a copy...

  Kate



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	<BAY9-DAV7cn8TtEvzox00003e21@hotmail.com>
Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
Date: Tue, 18 Nov 2003 14:13:13 +1300
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> What is the fiber contents? I'm assuming it's synthetic - in this case,
> you'll have to do a test first. Some synthetics can be dyed, but not all
of
> them. Nylon, for example, is nearly impossible to dye.

Actually it's not. Nylon dyes up very well.. nylon lace, nylon lycra...
maybe just not with rit. But the Dylon multipurpose it designed specifically
to colour this. It even says it on the pack.

I was told I'd never be able to dye the nylon lycra I bought to make a
costume from:
http://costumes.glittersweet.com/movies/poison.htm

I was even able to alter the temp and amount of time the fabric was in the
pot to get different shades. The pale green is just hot and dipped in only,
the legs are simmering and for a little bit longer. I'm sure it could have
gotten even darker if I'd used more dye.

You could argue it's the lycra that took the dye.. but no, not to the extent
the fabric absorbed the colour.

I also know someone who dyed a lot of nylon lace from cream to black for a
costume. She's in the states so I'm not sure what product she used.

> If I were you I'd open a pack of RIT, swirl some of it in a cup and dump a
> small piece of fabric in it. If after rinsing it holds the color, you
should
> be fine. If not and you really want to dye your fabric, you'll have to
find
> dyes made specifically for synthetics.

If you were to try that with stove top dye you'd get a false result;) You'd
need the heat.

I've also had polyester grab a fair bit of dye. Some delustred satin which I
knew to be poly went a lovely pale pink after being dipped in cold  dye. It
was stove top stuff. The same stuff dyed up some lace a deep maroon colour
(it was a burgundy dye.) Actually I've also have stretch satin take a bit of
dye... again I wanted it pale so it was ok that it didn't take all the
cherry red dye;)

Another dress which was a poly/cotton brocade, ground of cotton and pattern
in poly took the dye in the poly. Very pale blue, but then when I overdyed
it with the same colours... the poly grabbed more of the green in the dye
(navy) and went a funny colour.

michaela
http://costumes.glittersweet.com
A lot of fabric on my site is dyed by me. Went into it not aware of what
would or wouldn't dye up;)


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> Actually it's not. Nylon dyes up very well.. nylon lace, nylon lycra...

Hmm, maybe I got mixed up again. I don't know much about synthetics, so
maybe I'm confused.

> > If I were you I'd open a pack of RIT, swirl some of it in a cup and dump
a
> > small piece of fabric in it. If after rinsing it holds the color, you
> should
> > be fine. If not and you really want to dye your fabric, you'll have to
> find
> > dyes made specifically for synthetics.
>
> If you were to try that with stove top dye you'd get a false result;)
You'd
> need the heat.

I never use stove top dye because I don't have anything big enough to boil
the amount of fabric I usually want to dye. So if the water is not quite
warm enough for the package directions, as long as it's warm, I at least
know if it will hold the dye or not, even if it doesn't really tell me the
end color or shade.

In any case, test it. Then you'll know.
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In a message dated 11/17/2003 8:25:04 PM Eastern Standard Time, 
audreybmorin2@hotmail.com writes:

> So if the water is not quite
> warm enough for the package directions

You can turn up the temp on the water heater. There's usually a little 
knob-like thing in the unit's thermostat. Sometimes it requires a screw driver. Just 
don't forget to turn it back down. You don't want anyone to scald themselves 
with unexpectedly hot water.
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 1845 corset underwear question
Date: Mon, 17 Nov 2003 21:28:41 -0500
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On Monday 17 November 2003 03:58 pm, Deredere Galbraith wrote:
> Hi,
>
> If I want to make a 1845 corset and chemise witch one would be best?
> I have Simplicity 5726 and 7215.
> Is this is still pre hoop?

1845 is still "pre hoop".  I'm not familiar with the Simplicity patterns 
you've mentioned, so I have no further advice.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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> > So if the water is not quite
> > warm enough for the package directions
>
> You can turn up the temp on the water heater. There's usually a little
> knob-like thing in the unit's thermostat. Sometimes it requires a screw
driver. Just
> don't forget to turn it back down. You don't want anyone to scald
themselves
> with unexpectedly hot water.

The problem is usually that when I do a test, I do it in a cup or glass and
it cools very quickly. But thanks for the tip (though I think I'd just boil
some water and use that instead, it would be less complicated).
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Subject: Re: [h-cost] 1845 corset underwear question
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In a message dated 11/17/2003 9:30:05 PM Eastern Standard Time, 
cathy@thyrsus.com writes:

> I'm not familiar with the Simplicity patterns 
> you've mentioned, so I have no further advice.
> 

If you go to Simplicity.com , do a design search and plug in the numbers 
you'll see them. They really are not bad. Some complaints corset-wise, but the 
chemises look OK. Still, I don't have the patterns and you cannot see the actual 
pattern pieces to judge. But not bad.
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Date: Mon, 17 Nov 2003 19:42:09 -0800
To: Historical Costume <h-costume@indra.com>
From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
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At 9:31 PM -0500 11/17/03, Audrey Bergeron-Morin wrote:
>  > > So if the water is not quite
>>  > warm enough for the package directions
>>
>>  You can turn up the temp on the water heater. There's usually a little
>>  knob-like thing in the unit's thermostat. Sometimes it requires a screw
>driver. Just
>>  don't forget to turn it back down. You don't want anyone to scald
>themselves
>>  with unexpectedly hot water.
>
>The problem is usually that when I do a test, I do it in a cup or glass and
>it cools very quickly. But thanks for the tip (though I think I'd just boil
>some water and use that instead, it would be less complicated).

If you have a glass-lined thermos bottle, you could do your test in 
that to maintain the temperature.  (I wouldn't try it in a plastic 
thermos.)

Heather
-- 
*****
Heather Rose Jones
hrjones@socrates.berkeley.edu
*****
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Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
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> If you have a glass-lined thermos bottle, you could do your test in 
> that to maintain the temperature.  (I wouldn't try it in a plastic 
> thermos.)
> 
> Heather

That's a very good idea! Thanks!
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From h-costume-bounces@indra.com  Tue Nov 18 02:47:53 2003
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Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
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> The problem is usually that when I do a test, I do it in a cup or glass
and
> it cools very quickly. But thanks for the tip (though I think I'd just
boil
> some water and use that instead, it would be less complicated).

lol! That reminds me of somehting someone posted to their livejournal
recently...  Something like, when the US astronauts went into space, NASA
realised that ordinary pens wouldn't work and spent lots of money on
creating a pen that would write upside down, (underwater?) and in zero
gravity.

When faced with the same problem the Russians used a pencil.

;)

Just a little story about how a complicated path and a simple path can come
to the same result (writing in space.) Still, there may be other benefits
from going the complicated route;)

I'm sure I've gone the complicated way in costuming too... but my brain is
too fryed right now to figure out what it was;)

michaela
http://costumes.glittersweet.com


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From h-costume-bounces@indra.com  Tue Nov 18 09:29:06 2003
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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: [h-cost] Charles II, was Costuming in movies rant
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I watched this last night, having recorded it on Sunday. I thought the
costumes were pretty good, particularly the men's. The MPs reminded me
of some of Rembrandt's group portraits. Charles and Buckingham had new
suits with petticoat breeches after the Restoration, and Charles wore a
beautiful lace collar.
The writer admitted that he had taken some liberties with details of
historical fact. The oddest thing was that Charles was seen witnessing
his father's execution (a dream sequence?) and that the Worcester
campaign was totally ignored. On the whole, I enjoyed it.
Oh, and Rufus Sewell's eyes were hazel.

Kate Bunting
Library, University of Derby
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Subject: [h-cost] Help Finding a Portrait
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I figured this is the best bunch to ask for help on something like this
:).

I am trying to find a color version of the portrait identified as
Catherine de Medici on the bottom of this page: 
http://www.history-magazine.com/1580stimeline.html 

I have only been able to find a b&W version on this webpage and in a
book on lace, which attributes it to one of the Clouets, but no
information on what collection it is in.  I still have a few costume
books at home to check through but so far, no luck.

If anyone knows of another book this could be found in, preferably in
color, I would really appreciate the information.  Then ILL here I
come!

Thanks,
Catherine
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From: "Talia" <khanson@kc.rr.com>
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Subject: RE: [h-cost] Help Finding a Portrait
Date: Tue, 18 Nov 2003 10:04:19 -0600
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If you don't have any luck here, try contacting History Magazine and asking
them where they got the photo? Just a thought...

Talia

> I figured this is the best bunch to ask for help on something like this
> :).
>
> I am trying to find a color version of the portrait identified as
> Catherine de Medici on the bottom of this page:
> http://www.history-magazine.com/1580stimeline.html
>
> Thanks,
> Catherine

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Date: Tue, 18 Nov 2003 11:24:38 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: RE: [h-cost] Help Finding a Portrait
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Looks like a Clouet, to me...I don't recall seeing it anywhere before,
though.

Drea
>
> > I figured this is the best bunch to ask for help on something like this
> > :).
> >
> > I am trying to find a color version of the portrait identified as
> > Catherine de Medici on the bottom of this page:
> > http://www.history-magazine.com/1580stimeline.html
> >
> > Thanks,
> > Catherine
>
> _______________________________________________
> 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] dyeing Baroque or Bridal Satin?
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In a message dated 11/18/2003 2:48:45 AM Eastern Standard Time, 
thebruce@ihug.co.nz writes:

> >The problem is usually that when I do a test, I do it in a cup or glass
> and
> >it cools very quickly. But thanks for the tip (though I think I'd just
> boil
> >some water and use that instead, it would be less complicated).
> 
> lol! That reminds me of somehting someone posted to their livejournal
> recently...  Something like, when the US astronauts went into space, NASA
> realised that ordinary pens wouldn't work and spent lots of money on
> creating a pen that would write upside down, (underwater?) and in zero
> gravity.
> 
> When faced with the same problem the Russians used a pencil.
> 

Of course one could just do it in a sauce pan on the stove eliminating the 
cooling "problem". Duh.

My water heater advice was meant for those who dye in their washing 
machines.....which is what I thought was going to happen.

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From: kat@grendal.rain.com
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Date: Tue, 18 Nov 2003 09:38:35 -0800
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> In a message dated 11/17/2003 8:25:04 PM Eastern Standard Time, 
> audreybmorin2@hotmail.com writes:
> 
> > So if the water is not quite
> > warm enough for the package directions
> 
> You can turn up the temp on the water heater. There's usually a little
> knob-like thing in the unit's thermostat. Sometimes it requires a
> screw driver. Just don't forget to turn it back down. You don't want
> anyone to scald themselves with unexpectedly hot water.

Many newer water heaters are fixed so that you can't turn them up (at 
least not without ruining the insulation.) They are factory set to 
the "safe" temperature.

I've gotten around this by adding hot water from the stove to the 
washing machine. I use the hottest water it will get to partially 
fill the washing machine, then I boil water on the stove and add that 
to the washing machine. Then I dissolve my dye in a small amount of 
hot water or use liquid dye, then put it into the water. *Then* (and 
only then) put the fabric in to be dyed. Periodically, I add more hot 
water to the machine to help maintain the temperature while I'm doing 
the dyeing.

But you have to watch it carefully so that it doesn't go too far into 
the cycle and dump all your dye water.

Kat
<kat@redtrollforge.com>


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To: Historical Costume <h-costume@indra.com>
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Subject: [h-cost] Fashion on the Ohio Frontier: 1790-1840
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Sound like an interesting exhibit at Kent State University, Ohio! Finishes 
in Feb. 2004.

http://dept.kent.edu/museum/exhibit/ohio/main.htm

Sheridan

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Fashion on the Ohio Frontier: 1790-1840
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On Tuesday 18 November 2003 11:10 pm, David Webb wrote:
> Sound like an interesting exhibit at Kent State University, Ohio! Finishes
> in Feb. 2004.
>
> http://dept.kent.edu/museum/exhibit/ohio/main.htm

Thanks.  This is an excellent site.  

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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This is a really excellent site! The dresses are ones that don't show up
in many other sources. I hope Bjarne takes a look at this because there
are some dresses and suits I think he'd appreciate. I particularly like
the 1780 Robes a L'Anglaise since I have one on my List and good examples
are not as plentiful as, say, the polonaise style. I think I really need
to get that catalogue....


Karen


On Tue, 18 Nov 2003 23:26:19 -0500 Catherine Olanich Raymond
<cathy@thyrsus.com> writes:
> On Tuesday 18 November 2003 11:10 pm, David Webb wrote:
> > Sound like an interesting exhibit at Kent State University, Ohio! 
> Finishes
> > in Feb. 2004.
> >
> > http://dept.kent.edu/museum/exhibit/ohio/main.htm
> 
> Thanks.  This is an excellent site.  
> 
> -- 
> Cathy Raymond <cathy@thyrsus.com>
> 
> "Anything's within walking distance if you have the time." -Steven 
> Wright
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Fashion on the Ohio Frontier: 1790-1840
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Great site! Thanks for sharing!--I think I need to order the catalogue----
cheers and Best--
Albra

David Webb <alderweb@vaxxine.com> wrote:
Sound like an interesting exhibit at Kent State University, Ohio! Finishes 
in Feb. 2004.

http://dept.kent.edu/museum/exhibit/ohio/main.htm

Sheridan

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My husband is interested in the Tudor era of clothing. Any Ideas on historical patterns? I can find a huge number of Elizabethan patterns. Maybe adjust them? Thank you , Angelique


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From h-costume-bounces@indra.com  Wed Nov 19 07:33:24 2003
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Thanks!
I think I will make the 7215 corset, I don't have "Corsets and 
Crinolines" yet and no time to order it.
But I'll make the chemise from 5726 and mabey the petticoat.
I am not sure wat a petticoat have looked like but I won't be wearing 
period shoes ider.
As long as they don't see it it's ok.

At least I can start because I've got the permission to come to the 
Dickensfestival :-)

Greetings,
        Deredere


AlbertCat@aol.com wrote:

>In a message dated 11/17/2003 3:56:14 PM Eastern Standard Time, 
>triade@kabelfoon.nl writes:
>
>  
>
>>If I want to make a 1845 corset and chemise witch one would be best?
>>I have Simplicity 5726 and 7215.
>>Is this is still pre hoop?
>>
>>    
>>
>
>I think the 5726 looks more 1840s. The chemise should not have full sleeves 
>since sleeve are tight in the 1840s. Both corsets seem OK. There's a great 1844 
>corset in Norah Waugh's "Corset's and Crinolines" with gussets as well as 
>shaped pieces like a "French corset". It's hard to see the exact cut of the 
>corsets but I'd use the one that is closest to the Norah Waugh....IOW, with gussets 
>and shaped pieces. I think that might be 7251.
>
>If you can get a copy of "Corsets and Crinolines" and want to make up the 
>real 1844 corset....I have and the waist is very much narrower than the large 
>bust cups. A draw string in the top of the corset did the trick and looked good 
>[you keep it smooth in the back of course]. I also put a bone down the center 
>of each piece.
>
>
>Have fun!
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Subject: Re: [h-cost] historic patterns - Tudor?
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Period Patterns has Tudor patterns. Their patterns are not for beginning
sewers, however! I think the cheapest place I have seen that sells the PP
patterns is www.pillagedvillage.com

----- Original Message ----- 
From: "me" <ivycircle@yahoo.com>
To: <h-costume@net.indra.com>
Sent: Wednesday, November 19, 2003 4:55 AM
Subject: [h-cost] historic patterns - Tudor?


> My husband is interested in the Tudor era of clothing. Any Ideas on
historical patterns? I can find a huge number of Elizabethan patterns. Maybe
adjust them? Thank you , Angelique
>
>
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Subject: Re: [h-cost] historic patterns - Tudor?
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costume connection does a couple of things. 
try http://www.sewingcentral.com



 --- me <ivycircle@yahoo.com> wrote: > My husband is
interested in the Tudor era of
> clothing. Any Ideas on historical patterns? I can
> find a huge number of Elizabethan patterns. Maybe
> adjust them? Thank you , Angelique
> 
> 
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=====
Aurum peccamenes multifariam texit

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Robin,

I'll be able to have a look at it in a few days. I'll tell you then.

> Mehthild Muller, Die Kleidung nach Quellen des fruhen Mittelalters. 

Ulrike
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Date: Wed, 19 Nov 2003 07:46:12 -0700
From: Sue Clemenger <mooncat@in-tch.com>
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Subject: Re: [h-cost] Fashion on the Ohio Frontier: 1790-1840
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	<4.3.0.20031118230808.00d21100@pop.vaxxine.com>
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Oooh, sweet! What a nice website! I'm drooling on that closed gown made
of brown, printed cotton....
Thanks for sharing,
sue

David Webb wrote:
> 
> Sound like an interesting exhibit at Kent State University, Ohio! Finishes
> in Feb. 2004.
> 
> http://dept.kent.edu/museum/exhibit/ohio/main.htm
> 
> Sheridan
> 
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From h-costume-bounces@indra.com  Wed Nov 19 10:35:38 2003
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From: Cascio Michael <rosenau5@yahoo.com>
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Subject: [h-cost] greatcoat questions - Bjarne maybe?
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Hello all,
    Some of you over on frazzeledfrau have seen some
of this so please bear with me.  I want to make a
coachman's coat for my husband for Christmas with the
layers of capes over the shoulders.  I have several
options on patterns.  There are some interesting
things in Waugh's the Cut of Men's Clothes and Rocking
Horse Farm has a pattern with three layers of capes. 
This is supposed to be a surprise so I can't measure
him but he has an old Belgian military trench coat
that fits him well so I could use that to check
measurements against as I go.  I have some lovely
coating weight wool for the outside and have some
linen coming that looks like a good lining.  (Thanks
frazzledfrau group.)  If I get some canvas to use in
place of interfacing where would I put the canvas?  I
assume that I need to interline the collar and the
front edges of the coat.  Do I need to interline or
interface the capes (and I know the difference
betweent the two terms)?  I'm rather assuming that I
will make the outer fabric of wool and fully line the
body and sleeves of the coat with the linen.  I intend
to interface the collar and the opening edges of the
coat fronts with an unsized canvas so they stay crisp.
 I'm contemplating interlining the upper body of the
coat down to the waist or hips with some muslin or
something (suggestions?) for warmth and to help
support the buttons, buttonholes and the weight of the
capes around the neckline.  Have I forgotten anything?
 Does anyone forsee any problems or mistakes with my
approach?
I intend to dryclean this garment.  What do I need to
do to pre-treat all the different fabrics so they can
be drycleaned?  How do I make period buttonholes for a
greatcoat?  I have some prewashed fustian that I can
use for the interfacing or the interlining if that
would be more period than than a cotton muslin.  I
think what I'm doing is more late 1700s than 1800s. 
I've got an old history book picture of George
Washington stuck in my head as the inspiration for
this but they wouldn't let us keep our books in grade
school so I can't site sources but I know what I'm
aiming for anyway.
Any help greatly appreciated as I quit costuming and
took up quilting for years.  Coming back into historic
clothing I find alot has changed and am really
enjoying the sewing again even if I don't have time to
play in a group yet.  (They won't be teen-agers
forever.  Eventually they will all go away to college
and I will have to find something to do with all the
empty space and time :) )
                                   Cassandra

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From h-costume-bounces@indra.com  Wed Nov 19 11:04:42 2003
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Subject: [h-cost] square cap
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Speaking of Tudor clothing, does anyone know of a pattern or 
construction source for a square cap? I have this urge to make one.



Dawn



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From: "Cindy Abel" <brujne@creighton.edu>
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 And there is an exibition catalog available through the museum's giftshop
for $29.95 + 5.00 shipping.  164 pages.

Looks like a nice Christmas/Kwanza/Hannaka/Yule/New Year's/Whatever gift to
give yourself or have someone give you.

Cindy Abel

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From: "Sheridan & Shane" <shooie@sprint.ca>
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Subject: [h-cost] 1930's 
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Does anyone here have any online photo resources for the mid 30's to the mid
1940's?

This is outside of my usual area of study, and I don't quite know where to
start. :-)

Thanks in advance,

Sheridan



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Subject: [h-cost] lace from Nuw Modelbuch books
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Does anyone have a source to buy this 3 volume pattern book from the late 1500s? This book was mentioned several days ago and I have been looking for it all summer. Someone mentioned it being reprinted by Unicorn books, but I have not been able to find that source. I would really like to have it as I am making laces from the late 1500s and very early 1600s for my SCA Elizabethan court dresses. Any leads on where to find this book would be greatly appreciated.
Many Thanks
Ysandra
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Date: Wed, 19 Nov 2003 20:14:53 +0000
To: Historical Costume <h-costume@indra.com>
From: Jean Waddie <anne@montgomerie.demon.co.uk>
Subject: Re: [h-cost] Charles II, was Costuming in movies rant
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I didn't watch it through, and it's the kind of period where I'd be 
fooled by any half-decent costumes.  But I just came in at the point 
where Charles and Buckingham were romping with two (ahem) "ladies", and 
she was wearing silk French knickers!  I thought, well, I suppose she is 
a whore, but a bit early even for that, surely?

Jean


Kate M Bunting <K.M.Bunting@derby.ac.uk> wrote
>I watched this last night, having recorded it on Sunday. I thought the
>costumes were pretty good, particularly the men's. The MPs reminded me
>of some of Rembrandt's group portraits. Charles and Buckingham had new
>suits with petticoat breeches after the Restoration, and Charles wore a
>beautiful lace collar.
>The writer admitted that he had taken some liberties with details of
>historical fact. The oddest thing was that Charles was seen witnessing
>his father's execution (a dream sequence?) and that the Worcester
>campaign was totally ignored. On the whole, I enjoyed it.
>Oh, and Rufus Sewell's eyes were hazel.
>
>Kate Bunting
>Library, University of Derby
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Subject: [h-cost] Cloak/Cape hood shapes....
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This is a second post since my first didn't seem to reach the list.

 

Anyone have a handle on how hood shapes developed over the years?  I am
interested in anything from anywhere (Europe, but influences are okay) from
around 1400-1600.  The only ones that stand out in my mind are the duck
billed (almost look like ball caps) Flemish ones, but that is because I have
been 'doing' Breughel garb all summer.  I think I remember a pointed one
somewhere with a tassle on the end.but that may have been a wizard dream.  

 

I am sure I have not seen the Kinsale Cloak hood shape any earlier than the
late 1800s..anyone know of it sooner?  I love the hood, but I am afraid it
screams Victorian.  

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Subject: [h-cost] Re: greatcoat questions 
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>This is supposed to be a surprise so I can't measure
>him but he has an old Belgian military trench coat
>that fits him well so I could use that to check
>measurements against as I go.

One suggestion for this problem is easily solved if he is a heavy sleeper.  
My husband has been measured for jewelery and garments while he is sound 
asleep!!!  He never had any idea at all.

Your greatcoat idea sounds wonderful.  I don't have other advise to give, 
but would love to hear about your progress.

:) jessica

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ysandra sliverneedle wrote:
> Does anyone have a source to buy this 3 volume pattern book from the late 1500s? 


It's been out of print for almost two years now. Here's the full 
bibliographic info ,though, it might help you locate a library copy.


The New Model Book republished as Fascinating Bobbin Lace, Patterns from 
the first book of bobbin lace to be printed. by Clair Burchard. 
Stuttgart: Haupy, 1986. ISBN 3-258-03610-1



Dawn


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costumer's manifesto has a large archive:

http://www.costumes.org/history/100pages/1930links.htm

some extant ladies' garments:

http://cti.itc.virginia.edu/~dress/collection.html#1920s

and then, Googling "1930's photos" yielded an impressive variety of photos.

HOpe this helps, and good luck,

THeresa Eacker

Sheridan & Shane wrote:
> Does anyone here have any online photo resources for the mid 30's to the mid
> 1940's?
> 
> This is outside of my usual area of study, and I don't quite know where to
> start. :-)
> 
> Thanks in advance,
> 
> Sheridan
> 
> 
> 
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I have the following books for sale:

The CUlture of Clothing:  Dress & Fashion in the Ancien Regime, Daniel Roche
The Mode in Costume. R. Turner Wilcox
Historic Costume for the Stage, Lucy Barton
Folk Costume of Europe Coloring Book, Susan Johnston
Racinet's Full-Color Pictorial History of Western Costume, Auguste Racinet
What People Wore, Douglas Gorsline

Please contact me privately if you are interested.




Nancy Kiel
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This is very good advice.
For the weasel will not like it
And teasing isn't nice.

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On Wednesday 19 November 2003 11:08 am, Dawn wrote:
> Speaking of Tudor clothing, does anyone know of a pattern or
> construction source for a square cap? I have this urge to make one.


Maybe.  That depends on what you mean by a "square cap".

If you mean a cap of this type (which I think is called a "French bonnet"):

http://www.tudor-portraits.com/Henry1.jpg

Queta's Closet sells a pattern for it.  You can reach them at:

Queta's Closet
5703 19th Ave. South, Gulfport, FL 33707
(813) 381-1238
Patterns for shoes, accessories, and other finishing touches for medieval and 
renaissance costume. 

On the other hand, if you mean something more like this:

http://www.artofeurope.com/holbein/hol2.htm

I can't help you.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: [h-cost] greatcoat questions - Bjarne maybe?
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> I intend to dryclean this garment.  What do I need to
> do to pre-treat all the different fabrics so they can
> be drycleaned?

In theory, you shouldn't have to do anything. However, if you want to make
sure it's totally safe, I think your only option would be to have the fabric
dry cleaned before you make the garment.
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Date: Wed, 19 Nov 2003 19:24:54 -0800 (PST)
From: "Angharad ver' Reynulf" <dragonwolfcat@yahoo.com>
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Subject: [h-cost] 
	LA/Burbank-based cry for help (for a visitor who just lost their
	space)
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I just found out that my planned host for part of my
stay in LA will *not* be able to host me.  He can pick
me up and take me to the airport, but due to family
issues and a house problem, will not be able to put me
up as had been planned.

I've got non-refundable tickets for United Airlines
and Loscon, and had planned to go to the garment
district Monday to shop for the rest of my wedding
fabrics.  It was a straight shot on the transit from
his house originally.

I plan on asking around at the con with some of the
fen there to see if I can get help, but am a bit
nervous now for what had been a solid plan.  

Anxious,
Angharad or Jonnalyhn



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From h-costume-bounces@indra.com  Wed Nov 19 23:42:43 2003
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From: mmcnealy@att.net
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Help Finding a Portrait
Date: Thu, 20 Nov 2003 04:41:34 +0000
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I went web searching and haven't found it yet, but I don't think that its 
Catherine Medici. Due to bone structure, I think its much more likely that it 
is this lady, ELISABETH D'AUTRICHE. 
http://www.culture.gouv.fr/Wave/image/joconde/0002/m503604_81ee1188_p.jpg

Also, Catherine wore widow's black and in very French styles for the last 20 
some odd years of her life, not the fashionable Spanish influenced styles 
that the lady you are looking for is wearing. 
Here is Catherine as a young woman
http://www.culture.gouv.fr/Wave/image/joconde/0016/m502004_80ee463_p.jpg

And here she is as a widow in 1580
http://www.culture.gouv.fr/Wave/image/joconde/0002/m503604_93de1904_p.jpg

Hope that helps,
Marion
> I figured this is the best bunch to ask for help on something like this
> :).
> 
> I am trying to find a color version of the portrait identified as
> Catherine de Medici on the bottom of this page: 
> http://www.history-magazine.com/1580stimeline.html 
> 
> I have only been able to find a b&W version on this webpage and in a
> book on lace, which attributes it to one of the Clouets, but no
> information on what collection it is in.  I still have a few costume
> books at home to check through but so far, no luck.
> 
> If anyone knows of another book this could be found in, preferably in
> color, I would really appreciate the information.  Then ILL here I
> come!
> 
> Thanks,
> Catherine
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To: Historical Costume <h-costume@indra.com>
From: Danielle Nunn-Weinberg <dannw@mn.rr.com>
Subject: Re: [h-cost] lace from Nuw Modelbuch books
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When I got my copy about 5 or 6 years ago, it was out of print in North 
America but still available in book shops in Germany.  My suggestion would 
be do an online search of German bookstores or try and find someone in 
Germany who is willing to pick up a copy for you if they can find it.  Good 
luck, it is a great source.

Cheers,
Danielle

At 11:37 AM 11/19/2003 -0800, you wrote:
>Does anyone have a source to buy this 3 volume pattern book from the late 
>1500s? This book was mentioned several days ago and I have been looking 
>for it all summer. Someone mentioned it being reprinted by Unicorn books, 
>but I have not been able to find that source. I would really like to have 
>it as I am making laces from the late 1500s and very early 1600s for my 
>SCA Elizabethan court dresses. Any leads on where to find this book would 
>be greatly appreciated.
>Many Thanks
>Ysandra

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From: "Kate M Bunting" <K.M.Bunting@derby.ac.uk>
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Subject: Re: [h-cost] Charles II, was Costuming in movies rant
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Didn't notice that detail!

Kate Bunting
Library, University of Derby
>>> anne@montgomerie.demon.co.uk 11/19/03 8:14 PM >>>
I didn't watch it through, and it's the kind of period where I'd be 
fooled by any half-decent costumes.  But I just came in at the point 
where Charles and Buckingham were romping with two (ahem) "ladies", and 
she was wearing silk French knickers!  I thought, well, I suppose she is

a whore, but a bit early even for that, surely?

Jean




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I got my copy within the last couple of years from a US Company (NY, I
think).  Van Scriver Bobbin Lace.  They've got a website, although I
don't have it bookmarked any more, and when I tried to "search" for it
for you, my computer decided to be cranky, and refused to search.  But
you could do it <g>!
It *was* out of print when I got it, and I don't know that they had too
many copies, but they're someone else to think of as a possibility,
besides all the usual suspects like Borders and Abebooks and such.  They
sell lots of cool bobbin lace supplies, too.
--sue

Danielle Nunn-Weinberg wrote:
> 
> When I got my copy about 5 or 6 years ago, it was out of print in North
> America but still available in book shops in Germany.  My suggestion would
> be do an online search of German bookstores or try and find someone in
> Germany who is willing to pick up a copy for you if they can find it.  Good
> luck, it is a great source.
> 
> Cheers,
> Danielle
> 
> At 11:37 AM 11/19/2003 -0800, you wrote:
> >Does anyone have a source to buy this 3 volume pattern book from the late
> >1500s? This book was mentioned several days ago and I have been looking
> >for it all summer. Someone mentioned it being reprinted by Unicorn books,
> >but I have not been able to find that source. I would really like to have
> >it as I am making laces from the late 1500s and very early 1600s for my
> >SCA Elizabethan court dresses. Any leads on where to find this book would
> >be greatly appreciated.
> >Many Thanks
> >Ysandra
> 
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Date: Thu, 20 Nov 2003 08:50:26 -0800
Subject: Re: [h-cost] greatcoat questions - Bjarne maybe?
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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Status: RO

Dry cleaned and PRESSED if you plan to iron the garment or have it pressed
one you've had it cleaned.

With forethought, I had some expensive, imported wool fabric dry cleaned
before I planned to use it a couple of years ago, then didn't make the
garment after all. I pulled it out of the box a year later to use, but it
was wrinkled so I pressed it - actually didn't touch iron to wool but
steamed the wrinkles out. Imagine my surprise when I could watch the fabric
shrink up as the steam hit it.

I now believe it's the steam, not the dry cleaning that shrinks the fabric.

LynnD


On 11/19/03 7:06 PM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

>> I intend to dryclean this garment.  What do I need to
>> do to pre-treat all the different fabrics so they can
>> be drycleaned?
> 
> In theory, you shouldn't have to do anything. However, if you want to make
> sure it's totally safe, I think your only option would be to have the fabric
> dry cleaned before you make the garment.
> _______________________________________________
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Hello

I've been having a problem coming up with a title that could accurately
describe what I do.  I know that many of you work in the
costume/dressmaking/research fields & was wondering if any of you might have
some ideas for a really succinct yet intriguing title that I could use on my
business cards as well as when I am asked the dreaded question "What do you
do?"  As everyone knows, peoples' attention spans are incredibly short,
ESPECIALLY when you are telling them about yourself !!

These are the areas that I currently work in &/or may want to be able to
expand into in the future: 
researching costume, textiles& colours then drafting patterns, making
accurate historic costumes, undergarments & accessories for mid 18th century
to early 20 century (mainly focusing on Europe & North America)
researching varied aspects of 18th & 19th century European culture & art;
teaching or leading workshops about any of these subjects

Basically I like to learn, then do, then teach (or exhibit).  This seems all
interconnected to me but it is almost impossible to wrap it all up into a
neat little "catch phrase" that people actually understand.

I would really appreciate any ideas that you may have.  The title doesn't
need to be something that is currently in use but it also can't be so
obscure that I end up trying to explain myself for 5 minutes either !


Thanks very much

Elizabeth

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Date: Thu, 20 Nov 2003 12:39:36 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] Help naming a Costuming Profession
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Catchy enough?

Experimental Archeologist, specialist in 18th-19th century social textiles.

Mari

>Hello
>
>I've been having a problem coming up with a title that could accurately
>describe what I do.  I know that many of you work in the
>costume/dressmaking/research fields & was wondering if any of you might have
>some ideas for a really succinct yet intriguing title that I could use on my
>business cards as well as when I am asked the dreaded question "What do you
>do?"  As everyone knows, peoples' attention spans are incredibly short,
>ESPECIALLY when you are telling them about yourself !!
>
>These are the areas that I currently work in &/or may want to be able to
>expand into in the future:
>researching costume, textiles& colours then drafting patterns, making
>accurate historic costumes, undergarments & accessories for mid 18th century
>to early 20 century (mainly focusing on Europe & North America)
>researching varied aspects of 18th & 19th century European culture & art;
>teaching or leading workshops about any of these subjects
>
>Basically I like to learn, then do, then teach (or exhibit).  This seems all
>interconnected to me but it is almost impossible to wrap it all up into a
>neat little "catch phrase" that people actually understand.
>
>I would really appreciate any ideas that you may have.  The title doesn't
>need to be something that is currently in use but it also can't be so
>obscure that I end up trying to explain myself for 5 minutes either !
>
>
>Thanks very much
>
>Elizabeth
>_______________________________________________
>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] Help naming a Costuming Profession
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Hi Elizabeth,

  "Costumologist" maybe? I searched for the word on google and came up 
with few hits, though none really explains what this word really 
means...I'll think some more and see if I can't think of something better...


  Kate

 ceu@shaysnet.com


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Subject: Re: [h-cost] Help naming a Costuming Profession
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Oo! 
 That's *much* better... too much coffee for me today...

Kate

On Thu, 20 Nov 2003, M Stewart wrote:

> Catchy enough?
> 
> Experimental Archeologist, specialist in 18th-19th century social textiles.
> 
> Mari
> 
> >Hello
> >
> >I've been having a problem coming up with a title that could accurately
> >describe what I do.  I know that many of you work in the
> >costume/dressmaking/research fields & was wondering if any of you might have
> >some ideas for a really succinct yet intriguing title that I could use on my
> >business cards as well as when I am asked the dreaded question "What do you
> >do?"  As everyone knows, peoples' attention spans are incredibly short,
> >ESPECIALLY when you are telling them about yourself !!
> >
> >These are the areas that I currently work in &/or may want to be able to
> >expand into in the future:
> >researching costume, textiles& colours then drafting patterns, making
> >accurate historic costumes, undergarments & accessories for mid 18th century
> >to early 20 century (mainly focusing on Europe & North America)
> >researching varied aspects of 18th & 19th century European culture & art;
> >teaching or leading workshops about any of these subjects
> >
> >Basically I like to learn, then do, then teach (or exhibit).  This seems all
> >interconnected to me but it is almost impossible to wrap it all up into a
> >neat little "catch phrase" that people actually understand.
> >
> >I would really appreciate any ideas that you may have.  The title doesn't
> >need to be something that is currently in use but it also can't be so
> >obscure that I end up trying to explain myself for 5 minutes either !
> >
> >
> >Thanks very much
> >
> >Elizabeth
> >_______________________________________________
> >h-costume mailing list
> >h-costume@mail.indra.com
> >http://mail.indra.com/mailman/listinfo/h-costume
> 
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
> 
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Subject: Re: [h-cost] square cap
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Catherine Olanich Raymond wrote:

> On Wednesday 19 November 2003 11:08 am, Dawn wrote:
> 
>>Speaking of Tudor clothing, does anyone know of a pattern or
>>construction source for a square cap? I have this urge to make one.
> 
> 
> 
> Maybe.  That depends on what you mean by a "square cap".

Thanks for the reference. I'm not sure what I'm looking for now. I've 
seen two comments about a 'tudor square cap' on websites that did not 
have illustrations of what that was, and I got a picture in my head of a 
close fitting peaked cap with four seams or folds that made it a square, 
something like what is worn by Henry VII on his tomb.

http://www.kfki.hu/~arthp/art/t/torrigi/henry_7a.jpg

Maybe this is something completely different. I'm still looking for 
other pictures of this style of hat.



Dawn



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Subject: [h-cost] Shrinkage
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     A drycleaner should be able to steam shrink fabric.  They tend to have a 
flatbed presser that will steam, and should give a more even result than an 
iron.

     I've also heard of the London shrink method, recommended to students who 
can't afford the drycleaner.  You mist the fabric with water, wrap it up in 
muslin or a sheet, and let it dry naturally.

     Was there more to it?  Does nayone remember this differently?

     -Carol


Lynn Downward <LDownward@chori.org> said:
> Dry cleaned and PRESSED if you plan to iron the garment or have it pressed
> one you've had it cleaned.
> 
> With forethought, I had some expensive, imported wool fabric dry cleaned
> before I planned to use it a couple of years ago, then didn't make the
> garment after all. I pulled it out of the box a year later to use, but it
> was wrinkled so I pressed it - actually didn't touch iron to wool but
> steamed the wrinkles out. Imagine my surprise when I could watch the fabric
> shrink up as the steam hit it.
> 
> I now believe it's the steam, not the dry cleaning that shrinks the fabric.


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Date: Thu, 20 Nov 2003 11:00:17 -0700
From: Elizabeth Lear <eliz@indra.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Help naming a Costuming Profession
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I'd say 'Historical Costumer and Costume Lecturer'.

						...eliz

-- 
"How old would you be if you didn't know how old you were?"
                                      -Satchel Page
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Date: Thu, 20 Nov 2003 13:06:56 -0500
To: Historical Costume <h-costume@indra.com>
From: M Stewart <ms154@cornell.edu>
Subject: Re: [h-cost] square cap  - one method
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Hey there...

AH...  now i know what you are referring to.   OK...  I've experimented 
with these caps.   Firstly,  the ones I have made were knitted and then 
fulled.  The funky shaping is partly a function of both processes.

In the knitting I started at the top,  knitted in the round to create a 
flat round that covered the top of my head and the edges extended over the 
top of my head,  the front edge just hitting me on the top of the 
eyebrows.  Then I continued to knit in the round but without adding any 
stitches,  I actually decreased evenly by a few just to get it to  draw in 
closely to the head.  I knitted just far enough to elongate the edge of the 
cap to create that standing close fitting brow portion.
Then,  you bind off about 1/4 to 1/3 of the stitches across the 
front.   and then continue to knit the remaining stitches  to lengthen the 
edges and back of the cap.  This creates the portion that you fold up.  You 
can drop some stitches across the back to help in keeping the back portion 
close to the head when it is down,  as you can see in the portrait of Sir 
Thomas Moore.  (?)

Now...  on to the fulling.  Hot water,  soap,  scrubbing board,  cold 
water.  Repeat.  As the knitting draws together,  you can full the edges 
more tightly,  that gives you the kind of poof to the top that you can 
shape as the cap dries.  Then you can dry the fulled cap over  a frame to 
get really raised ridges,  or you can let it dry on it's own,  and you'll 
get softer ridges.   At least that's what happened to mine. ; >

It was kind of an accident the first time I made one.
Bridgette



>Thanks for the reference. I'm not sure what I'm looking for now. I've seen 
>two comments about a 'tudor square cap' on websites that did not have 
>illustrations of what that was, and I got a picture in my head of a close 
>fitting peaked cap with four seams or folds that made it a square, 
>something like what is worn by Henry VII on his tomb.
>
>http://www.kfki.hu/~arthp/art/t/torrigi/henry_7a.jpg
>
>Maybe this is something completely different. I'm still looking for other 
>pictures of this style of hat.





Mari Stewart
Cornell University


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Date: Thu, 20 Nov 2003 10:11:10 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Aesthetic dress, was books and movies etc.
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>On Sat, 15 Nov 2003, Cynthia Virtue wrote:
>
>>  Sue Clemenger wrote:
>>  > Well, locally, we have a young lady (age 13 or so) completely enamored
>>  > of the clothing Arwen wears.  Her folks are looking for ideas on what
>>  > medieval clothing would most closely come to the costumes.
>>
>>  Robin's lecture about the Victorians reminded me how much fun
>  > "aesthetic dress" is.  Arwen's costumes remind me of this style.

Geez, you're right!

Actually, I think what a lot of people think of as "medieval" is 
exactly that turn of the century William Morris reinterpretation of 
medieval.   It's certainly a "more comfortable, modern" way for us to 
enjoy medieval styles, and be doubly historic to boot!

Rima
completely buried getting ready for art show this weekend
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>      A drycleaner should be able to steam shrink fabric.  They tend to have a
>flatbed presser that will steam, and should give a more even result than an
>iron.
>
>      I've also heard of the London shrink method, recommended to students who
>can't afford the drycleaner.  You mist the fabric with water, wrap it up in
>muslin or a sheet, and let it dry naturally.
>
>      Was there more to it?  Does nayone remember this differently?
>
>      -Carol
>

One of the things I learned as a weaver that really empowered me with 
fabric was this:   ALL FABRIC HAS BEEN WASHED.

It's already been washed before you get it.   Go ahead and wash your 
wool - just do it in WARM, not hot water, and do NOT agitate (NOT NOT 
NOT), or it will felt.    Spin it dry in your washer, hang it or lay 
it flat to dry.   This should shrink it enough so that steaming later 
on won't dramatically change it's shape.

I just washed a piece I took off my loom - cashmere & merino blend. 
Came out great!

Rima
frantically knitting neckband, cuffs, to go on this woven piece... ;-D
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Date: Thu, 20 Nov 2003 10:24:57 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] florence or venice 1520-1560 period fabric
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>I have seen some silk called
>dupioni that didn't have any slubs at all - maybe it was just mislabeled -
>that might be a solution for you if you still want dupioni.

According to my weaving books, dupioni has to do with 'doubling' the 
weft threads.   Often they're slubby, but it's not the slubs that 
make it dupioni.    We just experience it that way these days....  ;-D

>And if you go with silk, remember to flatline it with something that
>breathes (linen is great imo, because it drapes well, is heavy and breathes
>well) to get it to hang well, because silk is usually very light.

Linen is probably my fave fiber.   It works beautifully for just 
about everything.   I made a boiled wool tunic jacket, lined it in 
linen, and it really improves how it hangs, not to mention keeping 
itchy wool away from me.  ;-D

Rima
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Date: Thu, 20 Nov 2003 10:47:21 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] Help naming a Costuming Profession
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>Basically I like to learn, then do, then teach (or exhibit).  This seems all
>interconnected to me but it is almost impossible to wrap it all up into a
>neat little "catch phrase" that people actually understand.
>
>I would really appreciate any ideas that you may have.  The title doesn't
>need to be something that is currently in use but it also can't be so
>obscure that I end up trying to explain myself for 5 minutes either !
>
>Thanks very much
>
>Elizabeth

Historic Textile Artist?

Rima
*sigh*   Just up and joined SCA, heaven help me...   so also call me
Nicolosa Tessitore
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Date: Thu, 20 Nov 2003 10:36:36 -0800
To: Historical Costume <h-costume@indra.com>
From: Rima <rima@anet.net>
Subject: Re: [h-cost] dyeing Baroque or Bridal Satin?
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>  > Actually it's not. Nylon dyes up very well.. nylon lace, nylon lycra...
>
>Hmm, maybe I got mixed up again. I don't know much about synthetics, so
>maybe I'm confused.

I'm assuming y'all know about

http://www.dharmatrading.com

They are GREAT about answering questions, very knowledgeable.   Just 
give 'em a call and they'll help you out.

Rima
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Date: Thu, 20 Nov 2003 10:27:25 -0800
Subject: Re: [h-cost] Shrinkage
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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On 11/20/03 9:54 AM, "aquazoo@patriot.net" <aquazoo@patriot.net> wrote:

> 
>    A drycleaner should be able to steam shrink fabric.  They tend to have a
> flatbed presser that will steam, and should give a more even result than an
> iron.
> 


I agree completely; when you take yardage into the dry cleaners, you need to
be certain that they will actually press the fabric, not just dry clean it.


>    I've also heard of the London shrink method, recommended to students who
> can't afford the drycleaner.  You mist the fabric with water, wrap it up in
> muslin or a sheet, and let it dry naturally.
> 
>    Was there more to it?  Does nayone remember this differently?
> 

Never heard of this. Do you need to iron it afterwards?

Lynn

>    -Carol
> 
> 
> Lynn Downward <LDownward@chori.org> said:
>> Dry cleaned and PRESSED if you plan to iron the garment or have it pressed
>> one you've had it cleaned.
>> 
>> With forethought, I had some expensive, imported wool fabric dry cleaned
>> before I planned to use it a couple of years ago, then didn't make the
>> garment after all. I pulled it out of the box a year later to use, but it
>> was wrinkled so I pressed it - actually didn't touch iron to wool but
>> steamed the wrinkles out. Imagine my surprise when I could watch the fabric
>> shrink up as the steam hit it.
>> 
>> I now believe it's the steam, not the dry cleaning that shrinks the fabric.
> 
> 
> _______________________________________________
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Date: Thu, 20 Nov 2003 21:30:06 +0000 (GMT)
From: =?iso-8859-1?q?Catalina=20Sanabria=20Rosado?= <ladyforbeys@yahoo.com>
Subject: Re: [h-cost] Help naming a Costuming Profession
To: Historical Costume <h-costume@indra.com>
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clothing and textile historian.



 --- Alabaster <elizabeth@alabasterstyle.com> wrote: >
Hello
> 
> I've been having a problem coming up with a title
> that could accurately
> describe what I do.  I know that many of you work in
> the
> costume/dressmaking/research fields & was wondering
> if any of you might have
> some ideas for a really succinct yet intriguing
> title that I could use on my
> business cards as well as when I am asked the
> dreaded question "What do you
> do?"  As everyone knows, peoples' attention spans
> are incredibly short,
> ESPECIALLY when you are telling them about yourself
> !!
> 
> These are the areas that I currently work in &/or
> may want to be able to
> expand into in the future: 
> researching costume, textiles& colours then drafting
> patterns, making
> accurate historic costumes, undergarments &
> accessories for mid 18th century
> to early 20 century (mainly focusing on Europe &
> North America)
> researching varied aspects of 18th & 19th century
> European culture & art;
> teaching or leading workshops about any of these
> subjects
> 
> Basically I like to learn, then do, then teach (or
> exhibit).  This seems all
> interconnected to me but it is almost impossible to
> wrap it all up into a
> neat little "catch phrase" that people actually
> understand.
> 
> I would really appreciate any ideas that you may
> have.  The title doesn't
> need to be something that is currently in use but it
> also can't be so
> obscure that I end up trying to explain myself for 5
> minutes either !
> 
> 
> Thanks very much
> 
> Elizabeth
> > _______________________________________________
> 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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Date: Thu, 20 Nov 2003 15:00:33 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Help naming a Costuming Profession
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>clothing and textile historian.

This one is my favorite.  It sounds very professional, and not like the 
maker of cheap Halloween costumes.

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

              //// \\\
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             (((  <> ))))
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Subject: RE: [h-cost] Help Finding a Portrait
Date: Thu, 20 Nov 2003 18:17:40 -0700
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Good eye Marion! I thought it looked familiar.  Someone recently was
discussing another Clouet who folks thought was this same woman.  Anyone
still have a link?  Might be an interesting comparison.

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of mmcnealy@att.net
Sent: Wednesday, November 19, 2003 9:42 PM
To: Historical Costume
Subject: Re: [h-cost] Help Finding a Portrait

I went web searching and haven't found it yet, but I don't think that its 
Catherine Medici. Due to bone structure, I think its much more likely that
it 
is this lady, ELISABETH D'AUTRICHE. 
http://www.culture.gouv.fr/Wave/image/joconde/0002/m503604_81ee1188_p.jpg

 ...................Hope that helps,
Marion


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Subject: [h-cost] OMG- I looove to dye! ;-)
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Thank you !!!! Everyone that helped with my dying issue I had some horrid glod /burgundy brocade that looked like cheap hotel curtains. I broke down with all the dye info on the  h-costuming list and voila!  I have a beautiful deep wine background with dove grey brocade.
Thankyou Thank you Thank you (again) Angelique


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] square cap
Date: Thu, 20 Nov 2003 22:32:03 -0500
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On Thursday 20 November 2003 12:51 pm, Dawn wrote:
> Catherine Olanich Raymond wrote:
> > On Wednesday 19 November 2003 11:08 am, Dawn wrote:
> >>Speaking of Tudor clothing, does anyone know of a pattern or
> >>construction source for a square cap? I have this urge to make one.
> >
> > Maybe.  That depends on what you mean by a "square cap".
>
> Thanks for the reference. I'm not sure what I'm looking for now. I've
> seen two comments about a 'tudor square cap' on websites that did not
> have illustrations of what that was, and I got a picture in my head of a
> close fitting peaked cap with four seams or folds that made it a square,
> something like what is worn by Henry VII on his tomb.
>
> http://www.kfki.hu/~arthp/art/t/torrigi/henry_7a.jpg
>


This looks different from either picture I sent you.  However, I see that you 
got another response, which I hope is helpful.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From h-costume-bounces@indra.com  Fri Nov 21 01:04:28 2003
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From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
To: Costuming <Costuming@yahoogroups.com>, courtesan@yahoogroups.com,
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Subject: [h-cost] Revision and Additions to The Realm of Venus
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Greetings all,

over the last couple of days I have made some changes and additions to the Realm that you may be
interested in.

Firstly, the "A Crowning Glory - Hairstyles and Head Wear" article has been tweaked a tad  -
changes to text mainly.
<http://realmofvenus.renaissancewoman.net/adorned/headwear.htm>

Secondly, to follow my changes to the Carpaccio Era gallery due to lots of added images, I have
made similar changes, and added many new pics to, The Palma Vecchio and Early Titian Era gallery:

<http://realmofvenus.renaissancewoman.net/wardrobe/artgallery2.htm>

And finally, I decided that the "Venus' Wardrobe" Index page need a re-vamp, to include some more
colour in the form of images. Nothing major, but a tweak nonetheless. :)






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Lady Bella Lucia da Verona 

*The Realm of Venus: Ladies Clothing in 16th Century Venice 
http://realmofvenus.renaissancewoman.net 
*Courtesan Mailing List 
http://groups.yahoo.com/group/Courtesan/ 
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Ahhhhh....another satisfied costumer.....

Bada-bing
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In a message dated 11/20/2003 6:03:49 PM Eastern Standard Time, 
kayta@frys.com writes:
>clothing and textile historian.

This one is my favorite.  It sounds very professional, and not like the 
maker of cheap Halloween costumes.
The only trouble with this is, I don't think it adequately conveys that you 
also MAKE things.
Ann Wass
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From: "Kendra Van Cleave" <kendra@tweedlebop.com>
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Subject: Re: [h-cost] Help naming a Costuming Profession
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From: <AnnBWass@aol.com>
Subject: Re: [h-cost] Help naming a Costuming Profession


> In a message dated 11/20/2003 6:03:49 PM Eastern Standard Time,
> kayta@frys.com writes:
> >clothing and textile historian.
>
> This one is my favorite.  It sounds very professional, and not like the
> maker of cheap Halloween costumes.

> The only trouble with this is, I don't think it adequately conveys that
you
> also MAKE things.

I agree -- what about "Clothing and Textile Historian, Historic Costume
Maker" or some kind of similarly merged title?

- Kendra
http://demode.tweedlebop.com/

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Date: Fri, 21 Nov 2003 08:58:18 -0800
Subject: Re: [h-cost] Help naming a Costuming Profession
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I like Kendra's title, but I'd say 'Clothing and Textile Historian, Historic
Clothing Maker."
LynnD

On 11/21/03 8:39 AM, "Kendra Van Cleave" <kendra@tweedlebop.com> wrote:

> From: <AnnBWass@aol.com>
> Subject: Re: [h-cost] Help naming a Costuming Profession
> 
> 
>> In a message dated 11/20/2003 6:03:49 PM Eastern Standard Time,
>> kayta@frys.com writes:
>>> clothing and textile historian.
>> 
>> This one is my favorite.  It sounds very professional, and not like the
>> maker of cheap Halloween costumes.
> 
>> The only trouble with this is, I don't think it adequately conveys that
> you
>> also MAKE things.
> 
> I agree -- what about "Clothing and Textile Historian, Historic Costume
> Maker" or some kind of similarly merged title?
> 
> - Kendra
> http://demode.tweedlebop.com/
> 
> _______________________________________________
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Subject: Re: [h-cost] Help naming a Costuming Profession
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AnnBWass@aol.com wrote:

> In a message dated 11/20/2003 6:03:49 PM Eastern Standard Time, 
> kayta@frys.com writes:
> 
>>clothing and textile historian.
> 
> 
> This one is my favorite.  It sounds very professional, and not like the 
> maker of cheap Halloween costumes.
> The only trouble with this is, I don't think it adequately conveys that you 
> also MAKE things.


Line 1: clothing and textile historian
line 2: (specializing in) research and reconstruction

Later you can add something about lectures or exhibits to line 2.



Dawn



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Lynn Downward wrote:
> I like Kendra's title, but I'd say 'Clothing and Textile Historian, Historic
> Clothing Maker."

I agree avoiding the word "costume" is important.  But a "clothing 
maker" is a long way of saying seamstress or tailor or craftsperson, and 
so looks too verbose to my eye.

Clothing & Textile Historian & Fabricator   ... athough that's getting a 
little long, even so.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

   "Such virtue hath my pen...."  -Shakespeare, Sonnet 81
        "I knew this wasn't _my_ pen!"  --Cynthia V.
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From h-costume-bounces@indra.com  Fri Nov 21 17:22:55 2003
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To: h-costume@indra.com
From: Brenda Bell <webwarren@earthlink.net>
Subject: Re: [h-cost] Help naming a Costuming Profession
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At Thu, 20 Nov 2003 12:26:23 -0500, "Alabaster" 
<elizabeth@alabasterstyle.com> wrote:

>I've been having a problem coming up with a title that could accurately 
>describe what I do.

>researching costume, textiles& colours then drafting patterns, making
>accurate historic costumes, undergarments & accessories for mid 18th century
>to early 20 century (mainly focusing on Europe & North America)
>researching varied aspects of 18th & 19th century European culture & art;
>teaching or leading workshops about any of these subjects
>
>Basically I like to learn, then do, then teach (or exhibit).  This seems all
>interconnected to me but it is almost impossible to wrap it all up into a
>neat little "catch phrase" that people actually understand.

How about

Historic Clothing Consultant

or

Historic Clothing Researcher

or

Historic Clothier and Research Consultant



Brenda
webwarren@earthlink.net


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From h-costume-bounces@indra.com  Sat Nov 22 00:28:51 2003
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From: "Wanda Pease" <wandap@hevanet.com>
To: "Historical Costume" <h-costume@indra.com>
Subject: RE: [h-cost] OT Book Repair Question
Date: Fri, 21 Nov 2003 21:28:56 -0800
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Thank you,

	I think I will take the book repair tape suggestion.  Mistress Arlys has
suggested a local source for it, so I'm off to buy a roll.

Regina

> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
> Behalf Of Helen Pinto
> Sent: Sunday, November 16, 2003 6:59 PM
> To: Historical Costume
> Subject: Fw: [h-cost] OT Book Repair Question
>
>
> Regina-
>
> So the spine is in good condtion and all the pages are firmly attached
> together?  And all that essentially happened is that the covers came off?
>
> If you have no strong objections to the cover, you can re-attach it using
> book repair tape.  This is a pre-gummed linen tape, 1 or 2 inches
> wide.  I'd
> suggest the 2" tape.  Hollander's has it- it's the first item on
> this page:
> http://www.hollanders.com/supplies-kits/bookbinding/bindingtapes.htm   A
> really good art store might also stock it.  (If you really hate
> the covers,
> use them as a template to cut something out that you like.)
>
>


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In a message dated 11/21/2003 5:25:01 PM Eastern Standard Time, 
webwarren@earthlink.net writes:
Historic Clothier and Research Consultant
I like the term, "clothier."  Sounds better than "fabricator" to me, but 
covers the territory of making things.
Ann Wass
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I am making a Tudor dress and have a question about the sleeve attachment. Are the outer sleeves sew on to the bodice as to be interchangeable? Or were the only interchangeable parts of the sleeves the "false sleeves"?
I need to get this dress finished for a madrigal dinner I am attending, but would like to have the ability to change sleeves, but don't know it that was done and am running out of time to sew.
Many thanks
Ysandra
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I am making a Tudor dress and have a question about the sleeve attachment. Are the outer sleeves sew on to the bodice as to be interchangeable? Or were the only interchangeable parts of the sleeves the "false sleeves"?
I need to get this dress finished for a madrigal dinner I am attending, but would like to have the ability to change sleeves, but don't know it that was done and am running out of time to sew.
Many thanks
Ysandra
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Subject: Re: [h-cost] Tudor sleeves question
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I would say the sleeves are sewn in because usually changeable sleeves are 
attached with points or jewels or something like that. And the fabric of the 
outer sleeve always seems to match that of the gown [though the lining does 
not....and you see more of that than anything else.....so you could make the turned 
back cuff changeable, hiding the join under the turn back. But that's a 
theatrical thing and not, to my knowledge, period.]
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> I am making a Tudor dress and have a question about the sleeve
> attachment. Are the outer sleeves sew on to the bodice as to be
> interchangeable? Or were the only interchangeable parts of the sleeves
> the "false sleeves"? I need to get this dress finished for a madrigal
> dinner I am attending, but would like to have the ability to change
> sleeves, but don't know it that was done and am running out of time to
> sew. Many thanks Ysandra

Most of the garments found in the inventories seem to already have 
their fur on (for example "a round gown furred with X" seems to be a 
standard formula). So, it's doubtful that they would have had them 
interchangeable. The undersleeves (false sleeves) definitely seem to 
be interchangeable. Sometimes they matched the foreskirt and 
sometimes they looked completely different. 

Kat
<kat@redtrollforge.com>


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: [h-cost] Gambesons
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A friend of mine wants to buy a gambeson for sparring (with padded swords)
in his swordplay group. He's interested in something like the "dagged
gambeson" found at http://www.revivalclothing.com/ (sorry, no direct link
to the page, but there's a link in the text just under the main picture).
He's seen these and says they are authentic and sturdily made, but the
colors are not to his taste.

Can anyone here recommend someone who sells something similar? He'd like
to know what his alternatives are.

--Robin


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Date: Sun, 23 Nov 2003 16:21:40 -0500
From: Lauren Walker <lauren.walker@comcast.net>
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Subject: [h-cost] Velvet Fabric?
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Hi, all,
I used to shop with a web vendor at url http://www.velvetfabric.com. For a
while the web site was down, then it seemed to move to
http://www.velvetfabric.ontheweb.com; then for a while I could get the
splash page there but none of the product pages were available; today I
can't get them at all, again. Anybody here know what's up with these folks?
I'm looking to swathe my living room in green cotton velvet curtains (a
celebration of having managed to keep the bank from foreclosing on Tara
without having to marry anybody else's fiance) and was hoping to am looking
for a reasonable discount on 30 to 40 yards of moss or loden or olive green
cotton velvet. Okay, it's not costume, it's setting, but I'm still hoping
someone can help me find this vendor or a comparable one.

Thanks!
Lauren

lauren.walker@comcast.net
-- 
"One does not need buildings, money, power, or status to practice the Art of
Peace. Heaven is right where you are standing, and that is the place to
train." -- Morihei Ueshiba

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Many thanks for the information on Tudor sleeves.
Ysandra
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Subject: [h-cost] steaming wool thank you
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Thank you everyone for the suggestions on the wool and
the drycleaning.  I think the best path for this is to
hang the fabric in the bath while running a hot
shower.  That should go with the way I will probably
air the garment should it get smoke smelling or
something during the winter.  Our other woolen
garments are hung out in the shade on a windy day
before being put away for the summer.  This seems to
get rid of any smells and I've only ever had to spot
clean other coats.  If this seems like a bad idea
please let me know.
                             Cassandra

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> Thank you everyone for the suggestions on the wool and
> the drycleaning.  I think the best path for this is to
> hang the fabric in the bath while running a hot
> shower.

I'm not sure steam from the shower will be hot enough to guarantee that
steam from a steaming press won't affect the fabric later on. Can someone
else confirm if I'm right or wrong?
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From h-costume-bounces@indra.com  Tue Nov 25 03:52:13 2003
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: [h-cost] Nurse from the 17th century
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Hi,

What would a 17th century nurse from a hospital have looked like?
I've been asked to make a dutch nurse costume for reanactment but I
don't have a clue.
Before I say yes I would love to know what to expect.
Hopefully I will get more information after I agreed to do it.
The idea is that I wil "work" in a hospital and explain people about
17th century  medicine to the publick.
Some of them will be doktors and professors them selves....
I will get a big book to learn from because I don't know anything about
working in a 17th cent hospital.
And that only for 1 weekend... Somehow when writing this I get the
fealing I will be completely stupid if I agree to this :-\ .
But I will get payed for it....not much...
I think it depends a lot on how much work the costume will be.

Greetings,
         Deredere



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From h-costume-bounces@indra.com  Tue Nov 25 08:23:53 2003
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Hi, Deredere
You realise this is a long time before Florence Nightingale and the
rise of the professional nurse? A woman working in a 17th century
hospital would wear ordinary lower-class clothing. I'd suggest a plain
woollen bodice and skirt with a coif, a big apron and probably a
neckerchief. Perhaps you have some 16th century things you could adapt?

Kate Bunting
Library, University of Derby
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Subject: Re: [h-cost] Nurse from the 17th century
From: Lauren Walker <lauren.walker@comcast.net>
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Hmm -- in 18th C, nursing was one of the tasks campfollowers were required
to perform in order to earn their half-rations from the military; but
otherwise weren't most nurses nuns?

Lauren

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Status: RO

Actually I think I have...
http://home.kabelfoon.nl/~triade/CostumeG/16thPDress.html

Kate M Bunting wrote:

>Hi, Deredere
>You realise this is a long time before Florence Nightingale and the
>rise of the professional nurse? A woman working in a 17th century
>hospital would wear ordinary lower-class clothing. I'd suggest a plain
>woollen bodice and skirt with a coif, a big apron and probably a
>neckerchief. Perhaps you have some 16th century things you could adapt?
>
>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: [h-cost] 1845 corset
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Hi,

I am making Simplicity 7215 and was looking at some corsets and I got 
the idea that most early 18th century corsets don't have a front closure.
But a wooden busk in front. Since I couldn't get a front busk with hooks 
and eyes for my corset I am quite happy to notice this.
So I am making mine with closed front and bust pocket. But what I also 
noticed that it looks like the wooden busk is sometimes the only boning 
in the whole corstet.
Am I right about that?? Looks a lot more comfertable to me. I will put 
boning in the back to keep the lacing strait.

Greetings,
        Deredere



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From: kat@grendal.rain.com
To: Historical Costume <h-costume@indra.com>
Date: Tue, 25 Nov 2003 08:10:11 -0800
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Subject: Re: [h-cost] Nurse from the 17th century
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> You realise this is a long time before Florence Nightingale and the
> rise of the professional nurse? A woman working in a 17th century
> hospital would wear ordinary lower-class clothing. I'd suggest a plain
> woollen bodice and skirt with a coif, a big apron and probably a
> neckerchief. Perhaps you have some 16th century things you could
> adapt?

It also depends on if you are in a Protestant or Catholic part of the 
country. In the Catholic parts, you'd probably be a nun.

Kat
<kat@redtrollforge.com>


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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] 1845 corset
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Are you looking at an eighteenth century garment or nineteenth?
Kathleen
----- Original Message ----- 
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "H-Costume" <h-costume@indra.com>
Sent: Tuesday, November 25, 2003 10:39 AM
Subject: [h-cost] 1845 corset


> Hi,
> 
> I am making Simplicity 7215 and was looking at some corsets and I got 
> the idea that most early 18th century corsets don't have a front closure.
> But a wooden busk in front. Since I couldn't get a front busk with hooks 
> and eyes for my corset I am quite happy to notice this.
> So I am making mine with closed front and bust pocket. But what I also 
> noticed that it looks like the wooden busk is sometimes the only boning 
> in the whole corstet.
> Am I right about that?? Looks a lot more comfertable to me. I will put 
> boning in the back to keep the lacing strait.
> 
> Greetings,
>         Deredere
> 
> 
> 
> _______________________________________________
> 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 Nov 25 11:43:25 2003
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From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
References: <BBE8C267.1989%lauren.walker@comcast.net>
Subject: Re: [h-cost] Nurse from the 17th century
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In Montreal, there is a hospital that was staffed by the nun's order of the
Marguerites. The founder was a woman of means who dedicated her life to
serving the needs of the sick. The work was begun in the last third of the
18th Century. The costume she developed for her nurses was grey,of modest
cut and fit. The headpiece was white. The building of the 19th C changed
focus of the service and patients, always trying to find the people who were
left out of the care of medical practitioners of the time. Today it seems to
be a retirement home for nuns. They give a very interesting tour of the
facility.  Also a nice time line costume display using dolls.
Kathleen
----- Original Message ----- 
From: "Lauren Walker" <lauren.walker@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Tuesday, November 25, 2003 8:25 AM
Subject: Re: [h-cost] Nurse from the 17th century


>
> Hmm -- in 18th C, nursing was one of the tasks campfollowers were required
> to perform in order to earn their half-rations from the military; but
> otherwise weren't most nurses nuns?
>
> Lauren
>
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Date: Tue, 25 Nov 2003 17:48:53 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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Sorry nineteenth century

Lloyd Mitchell wrote:

>Are you looking at an eighteenth century garment or nineteenth?
>Kathleen
>----- Original Message ----- 
>From: "Deredere Galbraith" <triade@kabelfoon.nl>
>To: "H-Costume" <h-costume@indra.com>
>Sent: Tuesday, November 25, 2003 10:39 AM
>Subject: [h-cost] 1845 corset
>
>
>  
>
>>Hi,
>>
>>I am making Simplicity 7215 and was looking at some corsets and I got 
>>the idea that most early 18th century corsets don't have a front closure.
>>But a wooden busk in front. Since I couldn't get a front busk with hooks 
>>and eyes for my corset I am quite happy to notice this.
>>So I am making mine with closed front and bust pocket. But what I also 
>>noticed that it looks like the wooden busk is sometimes the only boning 
>>in the whole corstet.
>>Am I right about that?? Looks a lot more comfertable to me. I will put 
>>boning in the back to keep the lacing strait.
>>
>>Greetings,
>>        Deredere
>>
>>
>>
>>_______________________________________________
>>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: "Helen Pinto" <hpinto@mindspring.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Nurse from the 17th century
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At this time, hospitals were most often attached to religious institutions.
Nuns frequently served in that capacity.
              -Helen/Aidan


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You mean 19th century, right? [I make this mistake all the time]

Yes, you can have an 1840s corset without a split busk or other CF closure. 
But I think it's the last decade for this. 

Does anyone know when that split busk is invented?

It would not be inaccurate to put a closure down the front. Some sturdy 
boning on each side of CF and some medium to large hooks and eyes would do.

There are also 1840s corsets with shoulder straps still, but I think it's the 
last decade for that too.
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From: "Cindy Abel" <brujne@creighton.edu>
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Date: Tue, 25 Nov 2003 11:47:49 -0600
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In my paperback copy of "Costume in Detail," a few dresses shown are
described as completely or in part as "cut on the cross."  Is this British
terminology for what we Yanks call cut on the bias(of the fabric)?

I was struck by an 1908 dinner dress illustrated in the book that was
described as cut completely "on the cross"  Although Madeleine Vionnent and
others have been given fashion history credit for extensively using the bias
cut, this 1908 dinner dress could very well be an early 20th c example of
use of the bias cut, judging from how the dress is draped. The dress was
owned by the original wearer's daughter, Miss Nora Harker(could be spelled
Hawker) and was lent to the author for the bookI have some lavender silk
satin and blue-lavender sheer silk(just a yard of each)to adapt this dress
to a 16" tall Sydney Chase fashion doll. I am making some changes--no boning
for a hard-bodied vinyl doll, using a braid in antique-gold which I'm
enhancing with tiny glass beads in lavender-grey/gold and 3mm glass "pearls"
in white, pale blue, and pale pink, and 4mm white "etched" glass "pearls"
for the silk bobbles(pom-poms) on the original braid. If I can get this
dress done in time(I think I've bitten off more than I can chew on the
beading of the braid trim alone!), I'd like to enter the doll in a January
"Haute Doll Magazine" contest.

Also if any of you on the east side of the pond know where this dress is
today, I'd appreciate any info

Thanks much!

Cindy Abel
Omaha NE



-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Helen Pinto
Sent: Tuesday, November 25, 2003 10:52 AM
To: Historical Costume
Subject: Re: [h-cost] Nurse from the 17th century


At this time, hospitals were most often attached to religious institutions.
Nuns frequently served in that capacity.
              -Helen/Aidan


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From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] 1845 corset
Date: Tue, 25 Nov 2003 13:53:19 -0500
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----- Original Message -----
From: "Deredere Galbraith"
> Hi,
>
> I am making Simplicity 7215 and was looking at some corsets and I got
> the idea that most early 18th century corsets don't have a front closure.
> But a wooden busk in front. Since I couldn't get a front busk with hooks
> and eyes for my corset I am quite happy to notice this.
> So I am making mine with closed front and bust pocket. But what I also
> noticed that it looks like the wooden busk is sometimes the only boning
> in the whole corstet.
> Am I right about that?? Looks a lot more comfertable to me. I will put
> boning in the back to keep the lacing strait.
>
> Greetings,
>         Deredere
>
>

Hi,

Have you ever checked this website for corsetry supplies? They might have
the parts you would need.

http://www.farthingales.on.ca/indexpage.htm

They are based here in Canada, so the exchange rate is quite reasonable for
most international currency.

Sheridan





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From: Deredere Galbraith <triade@kabelfoon.nl>
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I know, it is just that I want to spend as less money as I can and have 
to finish the whole costume as soon as possible.
But thanks anyway.

Greetings,
        Deredere

Sheridan & Shane wrote:

>----- Original Message -----
>From: "Deredere Galbraith"
>  
>
>>Hi,
>>
>>I am making Simplicity 7215 and was looking at some corsets and I got
>>the idea that most early 18th century corsets don't have a front closure.
>>But a wooden busk in front. Since I couldn't get a front busk with hooks
>>and eyes for my corset I am quite happy to notice this.
>>So I am making mine with closed front and bust pocket. But what I also
>>noticed that it looks like the wooden busk is sometimes the only boning
>>in the whole corstet.
>>Am I right about that?? Looks a lot more comfertable to me. I will put
>>boning in the back to keep the lacing strait.
>>
>>Greetings,
>>        Deredere
>>
>>
>>    
>>
>
>Hi,
>
>Have you ever checked this website for corsetry supplies? They might have
>the parts you would need.
>
>http://www.farthingales.on.ca/indexpage.htm
>
>They are based here in Canada, so the exchange rate is quite reasonable for
>most international currency.
>
>Sheridan
>
>
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume
>
>  
>

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Subject: Re: [h-cost] RE: Book-Costume in Detail:1720-1930
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In a message dated 11/25/2003 12:49:37 PM Eastern Standard Time, 
brujne@creighton.edu writes:
Is this British
terminology for what we Yanks call cut on the bias(of the fabric)?
Yes, that is correct.
Ann Wass
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Dear Cindy,
Yes cut on the cross is the same as bias cut.
In Denmark we use the same terminology and say "Skåret på skrå" Cut on the
cross.
Your doll projekt sounds wonderfull, is there a chance we might get a glimse
of it?
It is quite interresting with this, in 18th century, i discovered only
recently that all the bindings was made of straight grain, it was considered
very extravagant to cut material on the cross, perhaps even they never
considered the thoaght about how you could cut on the cross.



Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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In a message dated 11/25/2003 1:55:57 PM Eastern Standard Time, 
shooie@sprint.ca writes:

> http://www.farthingales.on.ca/indexpage.htm
> 

What a great site!
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From h-costume-bounces@indra.com  Tue Nov 25 15:58:42 2003
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From: "Cindy Abel" <brujne@creighton.edu>
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Subject: RE: [h-cost] costume in detail
Date: Tue, 25 Nov 2003 14:57:52 -0600
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Maybe, if I ever get it done. I don't own a digital camera--maybe if I bring
it to work to show it off!!

Seems mostly bias cut/cut on the cross only emerged with fabrics becoming
cheaper to manufacture with the Industrial Revolution and even then it took
both cheaper fabric manufacture and the advent of the sewing machine to make
the bias cut popular in couture wear.  For mass manufacture of cheaper
clothing, it is still too labor-intensive.

Thanks for the info!!

Cindy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]On
Behalf Of Bjarne og Leif Drews
Sent: Tuesday, November 25, 2003 1:14 PM
To: h-costume@indra.com
Subject: [h-cost] costume in detail


Dear Cindy,
Yes cut on the cross is the same as bias cut.
In Denmark we use the same terminology and say "Skåret på skrå" Cut on the
cross.
Your doll projekt sounds wonderfull, is there a chance we might get a glimse
of it?
It is quite interresting with this, in 18th century, i discovered only
recently that all the bindings was made of straight grain, it was considered
very extravagant to cut material on the cross, perhaps even they never
considered the thoaght about how you could cut on the cross.



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  Tue Nov 25 18:12:59 2003
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Sorry for the OT use of the list, but could Penny Ladnier please contact me.

Stephen Bergdahl

"I don't suffer from insanity!  I fact I rather enjoy it!"


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Subject: [h-cost] Pressing vintage 1890s silk dress?
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I've just purchased a vintage 1890s silk dress which is in surprisingly good
condition for a 100 plus year old dress. I am intending to wear it to a
Victorian murder mystery party this weekend but I need to press it. Any
suggestions for safely ironing this old of a dress? TIA

Talia

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From h-costume-bounces@indra.com  Tue Nov 25 19:14:45 2003
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Sorry to spend bandwidth on this, but..Cynthia, I don't think the mailer on
your website is working.  I've sent you three emails over the last couple
of weeks.  Could you please get in touch?

Thanks,

Margo

"One Tough Costumer"

www.margospatterns.com
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Margo Anderson wrote:
> Sorry to spend bandwidth on this, but..Cynthia, I don't think the mailer on
> your website is working.  I've sent you three emails over the last couple
> of weeks.  Could you please get in touch?

I'll check it, and email you separately.  However, it might be that your 
system is bouncing the TMDA verification form letter.  This is a 
spam-control "white-list" system that needs to be replied to in order 
for the original mail to go through.

I mention it here on the list in case anyone else has seen the form 
letter and was mystified.

-- 
Cynthia Virtue and/or
Cynthia du Pré Argent

Most of the "major" brands of hot cocoa have lots of salt in them to 
fool you into thinking they're chocolatey.  The good brands have no salt 
in them.
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At 07:35 PM 11/25/2003 -0500, Cynthia Virtue wrote:

>
>I'll check it, and email you separately.  However, it might be that your 
>system is bouncing the TMDA verification form letter. 

Aha, that must be it!

Margo

"One Tough Costumer"

www.margospatterns.com
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Greetings Robin,Actually I make custom gambesons and jacks, as well as other "suitable for fighting" clothing. Unfortunately I don't have information on them on my web site yet, I have to do some changes on the site since they are of different time period, but I'd still be happy to talk to your friend. ( colours would be his choice, I do custom work to the clients specifications within reason, no hot pink lame) (don't laugh, I've seen it, eewww)Cheers, WendyEmma's Closetwww.hecate.ca/emma/--- On Sun 11/23, Robin Netherton &lt; robin@shell.nightowl.net &gt; wrote:
From: Robin Netherton [mailto: robin@shell.nightowl.net]To: h-costume@indra.comDate: Sun, 23 Nov 2003 15:51:49 -0600 (CST)Subject: [h-cost] GambesonsA friend of mine wants to buy a gambeson for sparring (with padded swords)in his swordplay group. He's interested in something like the "daggedgambeson" found at http://www.revivalclothing.com/ (sorry, no direct linkto the page, but there's a link in the text just under the main picture).He's seen these and says they are authentic and sturdily made, but thecolors are not to his taste.Can anyone here recommend someone who sells something similar? He'd liketo know what his alternatives are.--Robin--- On Sun 11/23, Robin Netherton &lt; robin@shell.nightowl.net &gt; wrote:
From: Robin Netherton [mailto: robin@shell.nightowl.net]To: h-costume@indra.comDate: Sun, 23 Nov 2003 15:51:49 -0600 (CST)Subject: [h-cost] GambesonsA friend of mine wants to buy a gambeson for sparring (with padded swords)in his swordplay group. He's interested in something like the "daggedgambeson" found at http://www.revivalclothing.com/ (sorry, no direct linkto the page, but there's a link in the text just under the main picture).He's seen these and says they are authentic and sturdily made, but thecolors are not to his taste.Can anyone here recommend someone who sells something similar? He'd liketo know what his alternatives are.--Robin_______________________________________________h-costume mailing listh-costume@mail.indra.comhttp://mail.indra.com/mailman/listinfo/h-costume

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Subject: Re: [h-cost] Pressing vintage 1890s silk dress?
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It's probably silk, right? so do the silk setting. 

I'd steam it if I could. Especially the bodice. Perhaps an alterations shop 
or drycleaners has a professional steamer.
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sorry just test





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From h-costume-bounces@indra.com  Wed Nov 26 11:57:39 2003
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Hello,
I am considering maybe to sigm off this list. I think perhaps it is no
longer interresting to be on because hardly any ever ask for things anymore.
What is happening?
Have you all gone coma?

Bjarne





Leif og Bjarne Drews
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From h-costume-bounces@indra.com  Wed Nov 26 12:06:35 2003
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Bjarne og Leif Drews wrote:
> Hello,
> I am considering maybe to sigm off this list. I think perhaps it is no
> longer interresting to be on because hardly any ever ask for things anymore.
> What is happening?
> Have you all gone coma?

Well, the Americans have the excuse that this week is a major national 
holiday, with a four day weekend, which happens only once a year, 
reliably.  This week is Thanksgiving.  There is a lot of traveling going 
on right now as it's a major family get-together.

And the rest of you?  ;)

karen

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snip
>
> And the rest of you?  ;)
>
> karen

Busily stomping around familiar territory at the moment, I'm ususally full
of questions when I'm contemplating a new project, but right now I'm
repairing a couple of my dance costumes, re-working and finishing a couple
of others, and the rest is just finishing some Iron age garb for my husband.
:-)

Sheridan



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>> 
>> And the rest of you?  ;)
>> 
>> karen


I've just finished three skirts, one bodice, one distressed petticoat and
one apron for our Dickens' Fair in San Francisco. And am temporarily
distressing my daughter's beautiful too-big wool overcoat to fit into her
character of a street hooligan - patches and a false torn-up lining where
the sleeves roll up. If I have several hours of time at home on Friday, I
hope to dye one of my white cotton 1860's blouses a deep blue. These
projects didn't need any help from the list; this is old territory.

But the holiday-busy comment is certainly true; this week is Thanksgiving
and that certainly takes up lots of time, especially when you have to cook
and/or travel for the holiday. And I'm already in the process of making
Christmas presents, and that doesn't involve this group's information at
all.

Anyone else?

LynnD

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Subject: [h-cost] New Costume Book
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Bjarne:  This is a slow time of year, costume-wise on this side on the pond.
RenFaires are pretty much over and Christmas is coming so all we Yanks are
pretty much preparing for the major holiday for most of us from now until
Dec 25th!

Also members involved in the academic world are probably having to put
personal costuming interests aside or at least on "the back burner" until
all the college semester final exams are over and students go home for the
holidays.

I just got a wonderful book(Merry Christmas to me! From me!)via Barnes &
Noble's website. I've only got the littlest peek so far but will read some
over lunch and try not to drool all over the book, and then really get into
it tonight. I did notice that there was a good number of 1910's to early
1920's dresses in lovely color photographs--a decade that usually gets
ignored since it marks the transition from the Edwardian silhouette to the
Flapper image of the mid to late '20's, which to present-day eyes often
appears eccentric, odd, or even unattractive, but I find fascinating.

It is : A Separate Sphere: Dressmakers in Cincinnati's Golden Age-1877-1922
by Cynthia Amneus. Cincinnati Art Museum and Texas Tech University Press,
c2003
In is in conjunction with the exhibition of the same name that is running
through Jan 4, 2004.  I got the paperback version at bn.com for $23.40 and
free shipping since I have a B&N membership card.  ISBN is 0-89672-515-4.

Fans of late 19th early 20th c costume design may want to ask Santa for
either the hardcopy or paperback edition of this book.  Requires large
stocking for delivery!

Cindy Abel.



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In a message dated 11/26/2003 12:50:38 PM Eastern Standard Time, 
brujne@creighton.edu writes:
It is : A Separate Sphere: Dressmakers in Cincinnati's Golden Age-1877-1922
by Cynthia Amneus. Cincinnati Art Museum and Texas Tech University Press,
c2003
This is the first book in the Costume Society of America series published by 
Texas Tech University.  Just a reminder to those of you who are CSA 
members--if you order through CSA's website to Amazon.com, CSA gets a cut!

Ann Wass
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Hi all...

	Holiday,
	Travel,
	3 new web sites for Cornell University.
	
	Too much
	Bridgette
	

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In a message dated 11/26/2003 12:47:23 PM Eastern Standard Time, 
LDownward@chori.org writes:
And I'm already in the process of making
Christmas presents, and that doesn't involve this group's information at
all.
True--Friday I'm not going near a mall but will instead sew dresses for my 
two granddaughters for Christmas.

Ann Wass
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At 09:45 AM 11/26/2003 -0800, you wrote:
>I've just finished three skirts, one bodice, one distressed petticoat and
>one apron for our Dickens' Fair in San Francisco.


Hi LynnD,

When and where is SF's Dicken's faire, again? I know I asked before, but I 
can't find it right now. I want to go this year, dressed up or not (really 
don't have time to make something), and want to drag some friends to it as 
well.

And as for what I am doing.. figuring out what exactly I am going to make 
my husband for his 1580s nobles, which I already asked questions about. And 
making pumpkin pie and fresh bread for tomorrows dinner with the family. 
Not to mention the ever present son who needs caring for at his tender age 
of 16 months.

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, 26 Nov 2003 10:06:44 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
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Well, for me-----it's ALL of the above---! Getting ready for Thanksgiving--plus doing research for my next projects--(new Italian,new flemish, also a corded petticoat, and  corded corset) plus , now that I am retired ---I am re-organizing my costumne and needlework library , as well as finally inventorying my fabric stash(1 HUGE sewing room, floor to 16 ft ceiling piled high --plus a seperate walk in closet). Everything is going to go into tidy little boxes with fabric swatch and yardage noted on the front. I am SO tired of not being able to find what I need, when I need it. And worse--duplicating my purchases. 
However, I have always secretly wondered how everyone on this list seemed to have so much time to chat away merrily--and still costumne/work/take care of homes! I'm afraid I am not nearly as good at 'multitasking' as all of you seem to be:)
Cheers and Best --
Albra 


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Date: Wed, 26 Nov 2003 13:10:20 -0500 (EST)
From: Drea Leed <drea@nospam>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] New Costume Book
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I got this book too, when I went to see the exhibit.  Which is more
fabulous than the book! I urge everyone to go see it if you're within
driving distance of Cincinatti, even if it's not your primary time of
interest. I don't do victorian or early 20th century, but the exhibit put
me into raptures. The gowns are on round stands with no glass, allowing
you to walk around them and examine them from all angles. And the guards
are very understanding when you crouch down, lean in and peer fixedly at
seam treatments for five minutes at a time. :)

Drea
On Wed, 26 Nov 2003, Cindy Abel wrote:

> Bjarne:  This is a slow time of year, costume-wise on this side on the pond.
> RenFaires are pretty much over and Christmas is coming so all we Yanks are
> pretty much preparing for the major holiday for most of us from now until
> Dec 25th!
>
> Also members involved in the academic world are probably having to put
> personal costuming interests aside or at least on "the back burner" until
> all the college semester final exams are over and students go home for the
> holidays.
>
> I just got a wonderful book(Merry Christmas to me! From me!)via Barnes &
> Noble's website. I've only got the littlest peek so far but will read some
> over lunch and try not to drool all over the book, and then really get into
> it tonight. I did notice that there was a good number of 1910's to early
> 1920's dresses in lovely color photographs--a decade that usually gets
> ignored since it marks the transition from the Edwardian silhouette to the
> Flapper image of the mid to late '20's, which to present-day eyes often
> appears eccentric, odd, or even unattractive, but I find fascinating.
>
> It is : A Separate Sphere: Dressmakers in Cincinnati's Golden Age-1877-1922
> by Cynthia Amneus. Cincinnati Art Museum and Texas Tech University Press,
> c2003
> In is in conjunction with the exhibition of the same name that is running
> through Jan 4, 2004.  I got the paperback version at bn.com for $23.40 and
> free shipping since I have a B&N membership card.  ISBN is 0-89672-515-4.
>
> Fans of late 19th early 20th c costume design may want to ask Santa for
> either the hardcopy or paperback edition of this book.  Requires large
> stocking for delivery!
>
> Cindy Abel.
>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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>

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Subject: Re: [h-cost] just wondering
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In a message dated 11/26/2003 1:07:41 PM Eastern Standard Time, 
albrakat7@yahoo.com writes:
Everything is going to go into tidy little boxes with fabric swatch and 
yardage noted on the front. I am SO tired of not being able to find what I need, 
when I need it. And worse--duplicating my purchases. 
Good for you!  A six-month house guest forced me to do a major house cleaning 
and reorganization this summer. I weeded through fabrics and gave quite a bit 
away.  I did not put swatches on the boxes where the rest is stored, but I 
did write on each box a brief description. 

Not only is it frustrating to duplicate purchases, but also to waste time 
going to the store to buy something for a project when I know I have "some at 
home somewhere."

Ann Wass
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From h-costume-bounces@indra.com  Wed Nov 26 13:32:03 2003
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
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Well--for me --it's ALL of the above! Starting to prep for the Holidays--plus researching for my next projects(new Italian , new Flemish, plus a corded petticoat)--plus, now that I am retired,  I am re-organizing my costumne and needlework library, as well as finally doing an inventory of my fabric stash(1 HUGE sewing room , with floor to 15 foot ceiling  piles o' fabric--plus a seperate walk-in closet). Everything is going into tidy little boxes with fabric swatch and yardage noted on the front.( I am SO tired of not being able to find what I need , when I need it. Or worse, duplicating my purchases.)
However, I have often secretly wondered how so many of the folks on this list seemed to have time to chat merrilly along  --and still seem to manage to costumne/work/take care of home and families! I'm afraid I am not nearly as good at 'multi-tasking' as so many of you seem to be:)
Cheers and Best--
Albra


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> I am considering maybe to sigm off this list. I think perhaps it is no
> longer interresting to be on because hardly any ever ask for things
> anymore. What is happening? Have you all gone coma?

The list always seems to have ebb tides and flow tides.

Chances are about a day after you signed off there would be someone 
asking for your expertise, Bjarne, or someone with a post which 
interests you.

A couple of weeks ago the list was so busy I could barely keep up 
with the mail, and this week it's quiet except for time periods that 
I have no interest in.

But I know that soon the tide will turn. ;)

Kat
<kat@redtrollforge.com>


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From h-costume-bounces@indra.com  Wed Nov 26 13:34:25 2003
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] just wondering
To: Historical Costume <h-costume@indra.com>
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I figure that some of the fabric I weed thru will also go to prezzies for costumner  friends this Holiday Season:) There is also the problem that my husband absolutely refuses to bump out any more walls on our house for my fabric/sewing obsession--and I have most certainly attained 'critical mass' :)

AnnBWass@aol.com wrote:In a message dated 11/26/2003 1:07:41 PM Eastern Standard Time, 
albrakat7@yahoo.com writes:
Everything is going to go into tidy little boxes with fabric swatch and 
yardage noted on the front. I am SO tired of not being able to find what I need, 
when I need it. And worse--duplicating my purchases. 
Good for you! A six-month house guest forced me to do a major house cleaning 
and reorganization this summer. I weeded through fabrics and gave quite a bit 
away. I did not put swatches on the boxes where the rest is stored, but I 
did write on each box a brief description. 

Not only is it frustrating to duplicate purchases, but also to waste time 
going to the store to buy something for a project when I know I have "some at 
home somewhere."

Ann Wass
_______________________________________________
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From h-costume-bounces@indra.com  Wed Nov 26 13:43:03 2003
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Subject: Re: [h-cost] wondering
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Lessee...  I have three papers to finish, as well as grading for three 
classes,and  three finals in two weeks.  On top of that I am running an 
event on Dec 6 for which I need to make new outfits for my two darling 
children, and will be attending an event Dec 13-15 for which I have to 
have a new dress done (1540 Bordone).  Luckily, I am only responsible 
for a pumpkin cheesecake and cranberry relish for tomorrow.

Off to finish cutting out my Bordone dress and to make patterns for the 
my darling childrens' outfits :)

Althea

>
>> I am considering maybe to sigm off this list. I think perhaps it is no
>> longer interresting to be on because hardly any ever ask for things
>> anymore. What is happening? Have you all gone coma?
>
> The list always seems to have ebb tides and flow tides.
>
> Chances are about a day after you signed off there would be someone
> asking for your expertise, Bjarne, or someone with a post which
> interests you.
>
> A couple of weeks ago the list was so busy I could barely keep up
> with the mail, and this week it's quiet except for time periods that
> I have no interest in.
>
> But I know that soon the tide will turn. ;)
>
> Kat
> <kat@redtrollforge.com>
>
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>
>
Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From h-costume-bounces@indra.com  Wed Nov 26 13:44:49 2003
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Ciorstan wrote:


> 
> And the rest of you?  ;)
> 

Sewing for a craft show I did with a friend last weekend...

Frantic last minute planning for a vacation that literally just got 
handed to us for the 2nd week in December....

Two dinner parties in two weeks for visiting friends, never mind 
Thanksgiving with the whole family at my house this year...

And in the last 48 hours at home.... two attempted break-ins (during 
broad daylight while I was in the house), the washing machine breaking 
and spewing water all over my laundry toom, and the sewer backing up 
into a guest room in the basement that has to be ready for tonight...

I haven't even started the holiday gift shopping.


Costume wise I am trying to find 4 yards of solid dark wool at a bargain 
price (something less than $7 a yard, I may be dreaming, but I'm still 
looking)  for an SCA event in February. Trying to finish up a couple 
gypsy skirts to sell at a dancer's flea market this spring.... but 
mostly as I deal with the rest of the house and the goings-on my sewing 
room is becoming a catch-all for crap that is getting moved from other 
rooms.



Dawn



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From h-costume-bounces@indra.com  Wed Nov 26 14:09:38 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: "Historical Costume" <h-costume@indra.com>
References: <3FC377BB.4010008@kabelfoon.nl>
Subject: Re: [h-cost] 1845 corset
Date: Wed, 26 Nov 2003 20:11:01 +0100
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Hi Deredere!

I am very late with this, hope it is all right
First you have a confusion about the years. You say 18th. century but it is
19th.
Never mind.
A corset in Norah Waughs book from 1844 has bones in each seam. This is a 8
piece corset wich has bones in each piece. Then it has 2 bones in each CB.
seams where it is laced. Even some bones at the shoulders.
So i hope this helps you!!!

Bjarne

----- Original Messge -----
From: "Deredere Galbraith" <triade@kabelfoon.nl>
To: "H-Costume" <h-costume@indra.com>
Sent: Tuesday, November 25, 2003 4:39 PM
Subject: [h-cost] 1845 corset


> Hi,
>
> I am making Simplicity 7215 and was looking at some corsets and I got
> the idea that most early 18th century corsets don't have a front closure.
> But a wooden busk in front. Since I couldn't get a front busk with hooks
> and eyes for my corset I am quite happy to notice this.
> So I am making mine with closed front and bust pocket. But what I also
> noticed that it looks like the wooden busk is sometimes the only boning
> in the whole corstet.
> Am I right about that?? Looks a lot more comfertable to me. I will put
> boning in the back to keep the lacing strait.
>
> Greetings,
>         Deredere
>
>
>
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Subject: Re: [h-cost] wool vendor
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I just won an eBay auction for five yards of dark green wool from a seller
whose ID was en5001.  I haven't received it yet, so can't vouch for the
quality, but the total including shipping was $36.00, and he had numerous
auctions.

If it's as nice as it looked in the pic, he may have a customer for life!

Dianne
----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 26, 2003 1:49 PM
Subject: Re: [h-cost] wondering


> Costume wise I am trying to find 4 yards of solid dark wool at a bargain
> price (something less than $7 a yard, I may be dreaming, but I'm still
> looking)  for an SCA event in February. Trying to finish up a couple
> gypsy skirts to sell at a dancer's flea market this spring.... but
> mostly as I deal with the rest of the house and the goings-on my sewing
> room is becoming a catch-all for crap that is getting moved from other
> rooms.
>
>
>
> Dawn



I just won an eBay auction for five yards of dark green wool from a seller
whose ID was en5001.  I haven't received it yet, so can't vouch for the
quality, but the total including shipping was $36.00, and he had numerous
auctions.

If it's as nice as it looked in the pic, he may have a customer for life!

Dianne


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> Well, the Americans have the excuse that this week is a major national
> holiday, with a four day weekend, which happens only once a year,
> reliably.  This week is Thanksgiving.  There is a lot of traveling going
> on right now as it's a major family get-together.
>
> And the rest of you?  ;)

I've been caught in three things: Christmas shopping, cooking and planning
(anything costume-related all but stops about two months before Christmas
every year), the end of the University semester, and an emergency operation
for appendicitis.

Plus, I just got all three PoFs for my B-Day (2 months late), so what little
costume-related activities remaining have suddenly turned into "soaking up
information" in the Renaissance volume...
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> However, I have always secretly wondered how everyone on this list seemed
to have so much time to chat away merrily--and still costumne/work/take care
of homes! I'm afraid I am not nearly as good at 'multitasking' as all of you
seem to be:)

Oh, I don't. When I want to really get into a costume, I have to stop
chatting, or it never gets done... I justify my time chatting by thinking
about the incredible number of things I managed to learn just by hanging
around... See, not three years ago, I was totally clueless...
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Subject: Re: [h-cost] Dickens Fair, San Francisco
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I apologize to the list; I was going to respond privately to Kimiko and
decided to send the response to all in case others were interested. If not,
hit delete now.

The Dickens Fair is at the Cow Palace again this year. Not actually IN the
big Cow Palace but in several of the buildings below the Palace. It's in the
southern part of San Francisco and if you're taking 101 either to or from
San Jose, there are signs telling you 'Cow Palace next exit.'

Tickets are $20 at the gate plus parking, but it's open from 11-7 each
weekend day and lots of fun - food, crafts, theaters, street actors, Mr.
Dickens and many of his characters. They're also performing a new version of
"Treasure Island" (no, not one of Mr. Dickens' writing) on one of the
stages; the actors in it are quite excited about how great it's going. Fagan
walks the streets and Nancy runs from Bill daily. Mr. Scrooge can be seen in
his nightshirt (but not by the actors) on the streets with various ghosts.
Mr and Mrs Fezziwigg have invited you to the company Christmas party in
their warehouse -- all sorts of characters are everywhere. Edgar Poe are
Rudyard Kipling are there, many explorers, writers, military men of the time
show up. Kayta and I will be there from h-costume.

Any other questions - please email me off list.

LynnD


On 11/26/03 10:05 AM, "Kimiko Small" <kimiko@kimiko1.com> wrote:

> At 09:45 AM 11/26/2003 -0800, you wrote:
>> I've just finished three skirts, one bodice, one distressed petticoat and
>> one apron for our Dickens' Fair in San Francisco.
> 
> 
> Hi LynnD,
> 
> When and where is SF's Dicken's faire, again? I know I asked before, but I
> can't find it right now. I want to go this year, dressed up or not (really
> don't have time to make something), and want to drag some friends to it as
> well.
> 
> And as for what I am doing.. figuring out what exactly I am going to make
> my husband for his 1580s nobles, which I already asked questions about. And
> making pumpkin pie and fresh bread for tomorrows dinner with the family.
> Not to mention the ever present son who needs caring for at his tender age
> of 16 months.
> 
> 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] just wondering
From: Lynn Downward <LDownward@chori.org>
To: h costume <h-costume@indra.com>
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I've solved this problem by having h-costume and h-needlework come to me at
work. I never can get onto my computer at home - too much to do and opening
up my email with 2,354 unread messages is daunting!

Now, if only my bosses would cooperate, I'd be able to get more 'listing'
done. Today is calm but the past two weeks have been dreadful; it would take
all day to catch up with emails.

LynnD


On 11/26/03 11:59 AM, "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>
wrote:

>> However, I have always secretly wondered how everyone on this list seemed
> to have so much time to chat away merrily--and still costumne/work/take care
> of homes! I'm afraid I am not nearly as good at 'multitasking' as all of you
> seem to be:)
> 
> Oh, I don't. When I want to really get into a costume, I have to stop
> chatting, or it never gets done... I justify my time chatting by thinking
> about the incredible number of things I managed to learn just by hanging
> around... See, not three years ago, I was totally clueless...
> _______________________________________________
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	Bjarne/lace patterns/  use of Lace on Tudor dresses/Thanksgiving
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Bjarne,
Please don't leave us!
 I have a question about a pattern book  Nuw Modelbuch with period lace patterns from late 1500's. I have Le Pompe and wanted to get this book as well or at least any other book with lace patterns from this time period to go on my Elizabethan dresses.
Now a question on the early Tudor period clothing how extensive was lace used? We are going to a Christmas Tudor Madrigal dinner put on by the University of California Irvine and would like to include lace on my dress. Any information that you all have would be greatly appreciated.
Happy Thanksgiving and Many Blessings
Thanks for love of  friends, family, Health, and the Southern California Wild fires being put out, and special Blessings for all those who fought the fires, those who lost homes and loved ones, prayers for those who go through the stress of rebuilding.
Bless those who serve far from home prayers for protection for them.
Ysandra who has so MUCH to be thankful for this season. 

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Bjarne,
Please don't leave us!
 I have a question about a pattern book  Nuw Modelbuch with period lace patterns from late 1500's. I have Le Pompe and wanted to get this book as well or at least any other book with lace patterns from this time period to go on my Elizabethan dresses.
Now a question on the early Tudor period clothing how extensive was lace used? We are going to a Christmas Tudor Madrigal dinner put on by the University of California Irvine and would like to include lace on my dress. Any information that you all have would be greatly appreciated.
Happy Thanksgiving and Many Blessings
Thanks for love of  friends, family, Health, and the Southern California Wild fires being put out, and special Blessings for all those who fought the fires, those who lost homes and loved ones, prayers for those who go through the stress of rebuilding.
Bless those who serve far from home prayers for protection for them.
Ysandra who has so MUCH to be thankful for this season. 

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At 12:02 PM 11/26/2003 -0800, you wrote:
>The Dickens Fair is at the Cow Palace again this year.


Thanks LynnD!!

I look forward to seeing you there... I just am not sure when.

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] SCA February event
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  Lady Dawn,
  Fear not gentle lady for the is a GREAT WAR in February called Estrella WAR! It is in Arizona and it is the largest war in the western Kingdoms. Not to mention just plain FUN! Look under the SCA web site Kingdom of CAID for more information. I suppose that Ativenlt would also have information, but I live in CAID.
  Anon
  Lady Ysenda de Gray, O.D.
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wool vendor
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On Wed, 26 Nov 2003, Dianne & Greg Stucki wrote:

> I just won an eBay auction for five yards of dark green wool from a
> seller whose ID was en5001.  I haven't received it yet, so can't vouch
> for the quality, but the total including shipping was $36.00, and he
> had numerous auctions.

That's Ephraim Neuman.  I bought the red wool for my new fitted dress from
him. He mucked up my delivery, but when I did get it it was definitely
worth the wait, and the price was excellent.

It looks like he works off large bolts, selling them in five-yard
increments till the bolt is gone. I found four previous auctions from the
same bolt as mine -- same picture and description, posted one after the
other. So if bidding has gone up on one you want, you can try waiting a
week to catch the next one (at least till the bolt runs out).

I also emailed the previous winners off "my" bolt to ask them about the
fabric and how it worked/felt for them. This was really helpful in my
decision to buy.

--Robin



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Date: Wed, 26 Nov 2003 12:35:56 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost]  Bjarne/lace patterns/  use of Lace on Tudor
 dresses/Thanksgiving thoughts
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At 12:21 PM 11/26/2003 -0800, you wrote:
>Now a question on the early Tudor period clothing how extensive was lace 
>used? We are going to a Christmas Tudor Madrigal dinner put on by the 
>University of California Irvine and would like to include lace on my 
>dress. Any information that you all have would be greatly appreciated.
>Happy Thanksgiving and Many Blessings


Hi Ysandra,

How early a Tudor period are you asking about? I do Henry VIII's period, 
and most of the portraits and such from his period show little lace being 
used, usually on the ends of shirt cuffs or ruffled cuffs, or at the edges 
of collars. Blackwork is shown a bit more I think. If you want to add 
trimmings and stitch beads or jewels onto the trim, do so around the square 
neckline of the gown, and wear a lovely long jeweled belt that hangs in the 
front.

I wish there was more places for lace during Henry's time, but it wasn't 
fashionable or as available as it was in later Elizabethan times.

And Happy Thanksgiving with much blessings to you as well.

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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Robin Netherton wrote:

> On Wed, 26 Nov 2003, Dianne & Greg Stucki wrote:
> 
> 
>>I just won an eBay auction for five yards of dark green wool from a
>>seller whose ID was en5001. 
> 
> That's Ephraim Neuman.  I bought the red wool for my new fitted dress from
> him. He mucked up my delivery, but when I did get it it was definitely
> worth the wait, and the price was excellent.
> 
> It looks like he works off large bolts, selling them in five-yard
> increments till the bolt is gone.


Thanks for the information. I looked at some of his auctions the other 
night, but I'm leery of buying fabric I can't feel with my own hands. 
Knowing other costumers have had good transactions really helps. I'll 
have another look at his auctions after the holiday.



Dawn



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Date: Wed, 26 Nov 2003 22:13:50 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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Subject: [h-cost] Bodice 19th century dress
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Hi,

I enlarged an evening bodice from patterns of fashion.
I tink it almost fits. But at the sides the bodice is shorter than my 
waist. I wonder if this is ok or that the lady was a bit shorter than 
me(and had brobably slightly larger brests since it looks too wide at 
the front).
http://www.deredere.dds.nl/Victorian/Victorian.html
What do you think, schould I make the bodice longer at the waist??

Sorry that I am asking so many questions but I don't know much about 
this period and I have so little time.

Greetings,
        Deredere



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On Wed, 26 Nov 2003 14:59:30 -0500 "Audrey Bergeron-Morin"
<audreybmorin2@hotmail.com> writes:
> > However, I have always secretly wondered how everyone on this list 
> seemed
> to have so much time to chat away merrily--and still 
> costumne/work/take care
> of homes! I'm afraid I am not nearly as good at 'multitasking' as 
> all of you
> seem to be:)

I have a great Life. I just don't have a Job. ;)

Happy Thanksgiving, American pals!

Arlys

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Hi,
Thanks!
I really need to buy that book!
I made Smplicity 7215.
The corset just fits and is actually a bit to big but it is ok.
Next time I will make it at least one size smaller.
I am not going to follow the placing of the bones as the pattern says 
because it isn't working.
There is one at the side that makes an angle an the metal boning starts 
to twist grrrr..
So I took that one out. It may be a bit more comfertable if I place it 
on the side seem....
I think I just have to try what works for me...
Next one will be better...

Greetings,
        Deredere


Bjarne og Leif Drews wrote:

>Hi Deredere!
>
>I am very late with this, hope it is all right
>First you have a confusion about the years. You say 18th. century but it is
>19th.
>Never mind.
>A corset in Norah Waughs book from 1844 has bones in each seam. This is a 8
>piece corset wich has bones in each piece. Then it has 2 bones in each CB.
>seams where it is laced. Even some bones at the shoulders.
>So i hope this helps you!!!
>
>Bjarne
>
>----- Original Messge -----
>From: "Deredere Galbraith" <triade@kabelfoon.nl>
>To: "H-Costume" <h-costume@indra.com>
>Sent: Tuesday, November 25, 2003 4:39 PM
>Subject: [h-cost] 1845 corset
>
>
>  
>
>>Hi,
>>
>>I am making Simplicity 7215 and was looking at some corsets and I got
>>the idea that most early 18th century corsets don't have a front closure.
>>But a wooden busk in front. Since I couldn't get a front busk with hooks
>>and eyes for my corset I am quite happy to notice this.
>>So I am making mine with closed front and bust pocket. But what I also
>>noticed that it looks like the wooden busk is sometimes the only boning
>>in the whole corstet.
>>Am I right about that?? Looks a lot more comfertable to me. I will put
>>boning in the back to keep the lacing strait.
>>
>>Greetings,
>>        Deredere
>>
>>
>>
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From h-costume-bounces@indra.com  Wed Nov 26 17:05:18 2003
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From: "Diane Maynard" <Camelothorse@earthlink.net>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] wondering
Date: Wed, 26 Nov 2003 16:04:11 -0600
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PLEASE do not leave us !     I absolutely Love seeing all of your projects
and reading your advise even though I mostly just lurk.  Right now I am in
the middle of completing three full Elizabethan gowns for friends and do not
have much time for anything else but getting the turkey ready for tomorrow's
Thanksgiving dinner with my family.

You would be greatly missed !

Diane

----- Original Message -----
From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
To: <h-costume@indra.com>
Sent: Wednesday, November 26, 2003 10:58 AM
Subject: [h-cost] wondering


> Hello,
> I am considering maybe to sigm off this list. I think perhaps it is no
> longer interresting to be on because hardly any ever ask for things
anymore.
> What is happening?
> Have you all gone coma?
>
> Bjarne
>
>
>
>
>
> Leif og Bjarne Drews
> www.my-drewscostumes.dk
>
> http://home0.inet.tele.dk/drewscph/
>
>
> _______________________________________________
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Date: Wed, 26 Nov 2003 13:53:30 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] just wondering
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>Well, for me-----it's ALL of the above---! Getting ready for 
>Thanksgiving--plus doing research for my next projects--

Yesterday evening my Sweetie decided he wanted to do Thanksgiving in 
instead of out, so suddenly I have to stop sewing and shop for all the 
stuff for dinner to cook tomorrow.

>However, I have always secretly wondered how everyone on this list seemed 
>to have so much time to chat away merrily--and still costumne/work/take 
>care of homes! I'm afraid I am not nearly as good at 'multitasking' as all 
>of you seem to be:)

The housemate woke up at 5:30, heard the sewing machine, and asked if I was 
still sewing costumes for Dickens' Fair.  I said no, I thought I had all 
the opening weekend costumes done, I was sewing accessories.  I still need 
to make the two dolls commissioned for Christmas gifts.  And if the younger 
daughter wants to visit Dickens' this year she will want a costume.  And 
there's all the unfinished 18th century stuff I had to stop sewing in early 
November...

Accessories still needed for Dickens':  Water glass bag, of wool and silk, 
embroidered; knife and fork roll-up case, of wool and silk, embroidered; 
traveling bag, linen with wool braid banding, embroidered; new hat from 
straw braid sewn together, decorated; macrame purse; macrame watch lanyard 
(get watch repaired or replaced); little green "carriage parasol" (every 
actor needs a green umbrella).

Costume bits to finish for 2nd/3rd/4th weekends of Dickens':  c.1840 
chemisette; late 1840s basque bodice; crochet collar; finish basque jacket; 
finish crochet shawl; make 1864 outfit (canezou blouse, skirt, Zouave 
jacket with tons of braid, hat, shoes, embroidered belt and belt purse).

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

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Subject: [h-cost] Dickens' Fair - who/where?
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Who on this list is working Dickens' Fair, or will be there in costume?  We 
ought to say hello to each other like we did at Costume College.  You'll 
know me - I'll be in costume ;)

Saturdays I will be Mrs. Foote, the Fezziwig's Cockney cook, and will be 
hanging around Fezziwig's (dancing place) in c1840 with a bib-apron.  The 
peppermints in my right-hand pocket are available to anyone who can get 
them out of my pocket in character.

Sundays I will be Mrs. Creesy the Yankee clipper ship captain's wife, and 
will be at the Adventurer's Club.  I will be wearing something 
middle-class, and a blue bonnet with orange velvet "bluebells" when 
outdoors.  Indoors I will likely be doing macrame.  At some point I will be 
giving a short talk about the record-breaking 1851 voyage of the 'Flying 
Cloud' (Mrs. Creesy was the navigator of her husband's ship).


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

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From: "Saragrace T. Knauf" <saragrace@earthlink.net>
To: "'Historical Costume'" <h-costume@indra.com>
Date: Wed, 26 Nov 2003 14:42:17 -0700
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Subject: [h-cost] Wondering...here is a question that never got any
	takers....Cloak/Cape hood shapes....
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Hey, I'd even be interested in opinions or remembrances even if no one has
an overall view point.......

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On
Behalf Of Saragrace T. Knauf
Sent: Wednesday, November 19, 2003 2:32 PM
To: h-costume@indra.com
Subject: [h-cost] Cloak/Cape hood shapes....

Anyone have a handle on how hood shapes developed over the years?  I am
interested in anything from anywhere (Europe, but influences are okay) from
around 1400-1600.  The only ones that stand out in my mind are the duck
billed (almost look like ball caps) Flemish ones, but that is because I have
been 'doing' Breughel garb all summer.  I think I remember a pointed one
somewhere with a tassle on the end.but that may have been a wizard dream.  

I am sure I have not seen the Kinsale Cloak hood shape any earlier than the
late 1800s..anyone know of it sooner?  I love the hood, but I am afraid it
screams Victorian.  

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Status: RO

Kimiko
Henry's time is the time for the dinner. The dinner doesn't say "which" wife he has currently but I want to wear a gable hood so my guess is early.
Many thanks for the prompt answer--
I found some out of this world beaded lace at Wal-mart this week. I am going to add it to the Gable hood I am making and the rest as you suggested.
Thanks again
Ysandra
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Status: RO

Doing some cooking prep and waiting the arrival of a thread order to
start an Elizabethan Sampler project I got recently at an event.
Not much happening on the construction front.. Betsy

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
On Behalf Of Bjarne og Leif Drews
Sent: Wednesday, November 26, 2003 10:59 AM
To: h-costume@indra.com
Subject: [h-cost] wondering

Hello,
I am considering maybe to sigm off this list. I think perhaps it is no
longer interresting to be on because hardly any ever ask for things
anymore.
What is happening?
Have you all gone coma?

Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Penny Ladnier" <penny@costumegallery.com>
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Subject: Re: [h-cost] wondering
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I have been helping with my sons' play, Children of Eden, for the past
month.  Their last performance was last Monday night.  I came home and slept
12 hours.

Today, I pulled out the Japanese quilt that I started last year. I am hoping
my back holds out to finish it this year for my son's Christmas present.
The quilt is spread out all over the floor of my office.  I have about 1/3
of the top to finish.

Penny Ladnier
Owner, The Costume Gallery & Costume Classroom
www.costumegallery.com
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From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] 1845 corset
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At 10:32 PM 11/26/2003 +0100, you wrote:
>There is one at the side that makes an angle an the metal boning starts to 
>twist grrrr..
>So I took that one out.


Hi Deredere,

You may want to try using spiral boning, if you can get it in time. It will 
curve with the body, and not twist and poke like regular boning does in 
some angles. Spiral bones are designed specifically to be applied to places 
that need bones in a curved area.

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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From h-costume-bounces@indra.com  Wed Nov 26 17:59:12 2003
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Bjarne,
DON'T GO!!!!!  (she wails!)

You're a source of joy, of inspiration, and I've learned a lot from you
(as well as leaving sizable puddles of drool on my carpet while viewing
your lovely work)!

Arlys,
who's got a ton of embroidery to do between now and Christmas but decided
to locate the top of her desk today


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Subject: Re: [h-cost] Bodice 19th century dress
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In a message dated 11/26/2003 4:18:43 PM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> What do you think, schould I make the bodice longer at the waist??
> 

Yes, I think it's short. Bodices were long in the 1840s with long points at 
the CF and straight across the back. Your point seems a good length but I would 
make the bodice so it's at least an inch or so BELOW your waist line.

Another little detail when you get to the skirt:

The skirt should have a dome shape created with petticoats. This looks best 
if there is real "spring" from where the skirt attaches to the waist. This can 
be helped by cartridge pleating the skirt...right around the point [a great 
period detail] with them kinda shallow in front, deeper at the sides and deep in 
back. { I mention this because if I remember correctly, the wedding dress you 
liked was flat pleated] Many skirts are folded at the top and left to hang 
inside up to 3 to 6"  [and curved to fit the CF point....where you have to split 
the excess inside]. This adds the needed spring. The 1840s gowns we rented 
from "Little Dorrit" had this and it made a difference. 
If you don't want to do this or don't have the fabric, you can make an extra 
top ruffle to use as an underpinning. I did this for dresses we rented that 
didn't have the extra fabric inside. I just made a strip of organdy something 
like 8"X 4 yards, hemmed one end and put a casing in the other. Then ran a 
drawstring through it and tied it around the actress' waist. We'd put them over the 
petticoat unless they showed...then they went under it.

I love this period.
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Subject: Re: [h-cost] 1845 corset
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In a message dated 11/26/2003 4:35:25 PM Eastern Standard Time, 
triade@kabelfoon.nl writes:

> I am not going to follow the placing of the bones as the pattern says 
> because it isn't working.
> 

I find that corsets from this period tend to have a boning pattern that's not 
complicated. It runs pretty much up and down in straight lines that avoids 
the bust gussets [but will go right through the hip gussets].

Bones tend to twist if they are being forced into a curved casing. Try 
straightening things out as much as possible.
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Hi Penny,

     Is the quilt Japanese because you're using the beautiful Japanese prints 
that are available these days?  Or is there something else about it that's 
Japanese?

     I'm putting together a quilt that's made up of blocks made by different 
people.  It's always fun to figure out the best way to arrange the blocks so 
they all look good together.  There is a wide variety of fabrics and levels of 
complexity of the blocks, as well as the way the personalities of the makers 
are represented.  One block is made to look like a Hawaiian shirt!

     Has anyone used the Japanese printed fabric in historic costume or any 
sort of clothing?  The designs come from a lot of sources.  I've seen a few 
that are made to look like warp prints, but I know a lot of Japanese dyeing is 
different than these fabrics.

     -Carol


Penny Ladnier <penny@costumegallery.com> said:
> Today, I pulled out the Japanese quilt that I started last year. I am hoping
> my back holds out to finish it this year for my son's Christmas present.
> The quilt is spread out all over the floor of my office.  I have about 1/3
> of the top to finish.

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Subject: Re: [h-cost] New Costume Book
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In a message dated 11/26/2003 9:50:13 AM Pacific Standard Time, 
brujne@creighton.edu writes:
I just got a wonderful book(Merry Christmas to me! From me!)via Barnes &
Noble's website. 
Ha!  I'm glad I'm not the only one who does this!  I just got Queen 
Elizabeth's Wardrobe Unlock'D at a spectacular price on ebay.  I've been drooling over 
THAT particular book for over a year now.  Now if I can just get my DH to 
start on his new Walsingham court suit, I'll be one happy camper!

Laura, 
Choreographer; Props Master
http://www.guildofstaugustine.org
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Date: Wed, 26 Nov 2003 15:26:15 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] Wondering...here is a question that never got any
  takers....Cloak/Cape hood shapes....
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>I am sure I have not seen the Kinsale Cloak hood shape any earlier than the
>late 1800s..anyone know of it sooner?  I love the hood, but I am afraid it
>screams Victorian.

I think the Kinsale cloak goes back to the mid- or late-1700s, but not 
earlier than I know of.  Meanwhile, look in the Janet Arnold book that 
covers the Renaissance, because at least one of those cloaks has a hood.


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

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From h-costume-bounces@indra.com  Wed Nov 26 18:41:33 2003
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Well, for me, I am still providing costumes for local churches and schools
along with the usual requests for historical clothing.
Last week I had to put out the gorilla for a production of "Martian
Chronicles" and then 20 Animals for an original production of "Noah's Ark".
The week before it was a full set of 18th C stuff for "A Midsummer's
Night Dream, minus the Faries.
Next week it is "Amahl" for my church.  This does not leave me much time to
chat.  Also the next two weekends are candelight house tours for the 18th
and 19th houses in town.  I have several costumes to get ready for these
folk.
See you in the New Year...
Kathleen ----- Original Message ----- 
From: "Sheridan & Shane" <shooie@sprint.ca>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 26, 2003 12:29 PM
Subject: Re: [h-cost] wondering


> snip
> >
> > And the rest of you?  ;)
> >
> > karen
>
> Busily stomping around familiar territory at the moment, I'm ususally full
> of questions when I'm contemplating a new project, but right now I'm
> repairing a couple of my dance costumes, re-working and finishing a couple
> of others, and the rest is just finishing some Iron age garb for my
husband.
> :-)
>
> Sheridan
>
>
>
> _______________________________________________
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From: "Penny Ladnier" <penny@costumegallery.com>
To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Japanese prints
Date: Wed, 26 Nov 2003 18:58:05 -0500
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Carol,

This quilt is made from Japanese prints.  Actually I call the quilt a
Japanese Cameo quilt.  I bought most of the prints at Hancock Fabrics last
year.  Then I found a wonderful fabric site online.  I tucked away the
business card when moving my office.  Lord only knows where it is now.  I
know I gave the URL last year when we talked about this quilt.  The quilt
pattern I am using makes the prints look like cameos.  The figures I am
using are dragons, Japanese men and women, fans, children, etc.  I am now
piecing together the rows of the quilts, although I still have four more
rows to make.  In the center of the quilt, I got a batik of a Japanese House
at the Williamsburg Quilt Fest.  This block will take up the space of four
regular blocks.

You can see some of my regular sized blocks at:
http://www.costumegallery.com/Quilt/block1.jpg
http://www.costumegallery.com/Quilt/block2.jpg
The gold and black surrounding the cameo is bamboo print.

The batik Japanese house centerpiece is here:
http://www.islandbatik.com/paintings/swatches/p_sunset.htm

This lady has some wonderful fabrics:
http://www.islandbatik.com/

After this quilt, I have some stamped quilt blocks that need to be painted
of Godey's ladies, children, and Victorian houses.  Now that I have this
nice big window seat in my office, the Godey's ladies quilt will look nice
on it.  I picked these up at the Williamsburg show a couple of years ago.
Before someone asks... the company that makes these blocks is Tender
Touches.  I couldn't find a website but here is the mailing address:
Tender Touches
PO Box 486
Clearwater, KS 67026
Phone: 620-584-2554

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


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Subject: Re: [h-cost] Japanese prints
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Pierre and Sandy Pettinger did two full kimonos using nothing but, Japanese
cotton prints.  In fact there a picture in the costume gallery of them.

;->

----- Original Message ----- 
From: <aquazoo@patriot.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 26, 2003 5:06 PM
Subject: [h-cost] Japanese prints


>
> Hi Penny,
>
>      Is the quilt Japanese because you're using the beautiful Japanese
prints
> that are available these days?  Or is there something else about it that's
> Japanese?
>
>      I'm putting together a quilt that's made up of blocks made by
different
> people.  It's always fun to figure out the best way to arrange the blocks
so
> they all look good together.  There is a wide variety of fabrics and
levels of
> complexity of the blocks, as well as the way the personalities of the
makers
> are represented.  One block is made to look like a Hawaiian shirt!
>
>      Has anyone used the Japanese printed fabric in historic costume or
any
> sort of clothing?  The designs come from a lot of sources.  I've seen a
few
> that are made to look like warp prints, but I know a lot of Japanese
dyeing is
> different than these fabrics.
>
>      -Carol
>
>
> Penny Ladnier <penny@costumegallery.com> said:
> > Today, I pulled out the Japanese quilt that I started last year. I am
hoping
> > my back holds out to finish it this year for my son's Christmas present.
> > The quilt is spread out all over the floor of my office.  I have about
1/3
> > of the top to finish.
>
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume
>


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From: "Helen Pinto" <hpinto@mindspring.com>
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Subject: Re: [h-cost] Dickens' Fair - who/where?
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CarolynKayta wrote:
>
> Sundays I will be Mrs. Creesy the Yankee clipper ship captain's wife, and
> will be at the Adventurer's Club.  ... At some point I will be
> giving a short talk about the record-breaking 1851 voyage of the 'Flying
> Cloud' (Mrs. Creesy was the navigator of her husband's ship).
>
She is just too cool for the room.  Eleanor Prentiss Creesy, in 1851,
navigated her husband's clipper, "The Flying Cloud", from NYC to San
Francisco, around Cape Horn.  Because of her study of ocean currents and
weather phenomena, and her navigational, mathematical and dead reckoning
skills, her time was only 89 days, beating the previous record of 200 days.
She and her husband beat this record, again in "The Flying Cloud", three
years later.  Their record (for type of ship and route) stood until 1989.
The lecture should be great.
             -Helen/Aidan





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Subject: Re: [h-cost] Wondering...here is a question that never got any
	takers....Cloak/Cape hood shapes....
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> I think the Kinsale cloak goes back to the mid- or late-1700s, but not
> earlier than I know of.  Meanwhile, look in the Janet Arnold book that
> covers the Renaissance, because at least one of those cloaks has a
> hood.

There are mens ceremonial cloaks which have hoods, but there are also 
other mens garments with hoods too. Not so with the women's stuff. 
It's pretty rare to see hoods on women's clothing (as opposed to as a 
separate garment) at least in Europe until much later. (Kinsdale gets 
used a lot because it's pretty, but you are right that it screams 
Victorian, even though it is from earlier as Kayta mentions.)

Kat
<kat@redtrollforge.com>


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From: "Lisa Sinervo" <Lisa-list@thrednedlestrete.com>
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Subject: [h-cost] The history of swimwear......
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Status: RO

Well, here's topic up for grabs to keep Bjarne from leaving.  Today I noticed a book on learning to swim from the EEBO collection and I was quite excited to see if it contained any woodcuts with bathing suits.  In my head I was already to start making Elizabethan swimwear only to see that the illustrations were of men and women swimming in the nude.  Of course!!!  So, I'd be interested in hearing about the swimwear found in any one else's period of interest.  Also, has anyone made any period swimming outfits or togs?

Lisa Sinervo
www.thrednedlestrete.com

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Status: RO

Hi, Deredere. I think everyone else covered the subject well, but to 
recap, if you were Catholic or from a Catholic part of the country, you 
might have been a member of an Order attached to that hospital. If you 
were Protestant, you were a lay person, and would have worn either 
regular clothes or something issued to you to wear, probably moreso 
fabric rather than a made-up set of clothes (and even if so, not made to 
a recogniseably different pattern than other clothing) . You did not 
specify which part of the 17th Cent., even though I do not believe it 
matters in this case, as nurse uniforms per se were still a long way 
off. BTW, at this time, unless you were a midwife or the assistant to a 
Physician or Barber-Surgeon (assumedly either a wife or daughter), you 
would have probably had only rudimentary knowledge of medicine, and your 
purpose would have been to assist the sick or injured (you know, 
feeding, bedpans, etc.). Also, the late 1600s saw a loss of stability of 
the structure of women's medicine for women as the male-dominated 
medical profession took over more and more of the functions of the 
midwives, etc.  It is an interesting area of study. Good Luck with your 
project. Mike T.

Deredere Galbraith wrote:

> Hi,
>
> What would a 17th century nurse from a hospital have looked like?
>

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Subject: Re: [h-cost] The history of swimwear......
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Status: RO

I have put some period articles online from 1870-1923 for swimwear.  Its one
of those things that interest me, like hairstyles.  I have several more
articles to put online about swimwear.... and hairstyles.  But I don't want
people to think I am obsessed.... well, maybe obsessed with hairstyle
history.  I generally add more swim suit articles in the spring and summer.
Anyways, both areas are in our subscription area of the library.  You can
look over the titles of the swim articles.
http://www.costumegallery.com/swimsuits.htm

The AP newspaper article that is floating around now since August, quotes me
about ladies swimwear history during this period.  I can't provide a link
because of my contract with the AP, and because h-costume archives can be
searched through search engines.  But if you do a search on google.com with
the search words "Penny Ladnier swim" you will see the article.  It is the
3rd link down.

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


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Status: RO

AFAIK men swam in the nude until the mid-19th century. (Rev. Francis
Kilvert, the diarist, was most annoyed at being made to wear bathing
drawers on a visit to the seaside in the 1870s) I had to smile at the
famous "wet shirt" scene in the BBC's "Pride and Prejudice" for this
reason!
In the late 17th century, Celia Fiennes describes going into the Roman
bath at Bath wearing a voluminous smock made of a stiff material "so
your shape is not seen".


>>> Lisa-list@thrednedlestrete.com 11/27/03 6:08:51 AM >>>
Well, here's topic up for grabs to keep Bjarne from leaving.  Today I
noticed a book on learning to swim from the EEBO collection and I was
quite excited to see if it contained any woodcuts with bathing suits. 
In my head I was already to start making Elizabethan swimwear only to
see that the illustrations were of men and women swimming in the nude. 
Of course!!!  So, I'd be interested in hearing about the swimwear found
in any one else's period of interest.  Also, has anyone made any period
swimming outfits or togs?

Lisa Sinervo
www.thrednedlestrete.com 

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Date: Thu, 27 Nov 2003 01:33:29 -0800
To: Historical Costume <h-costume@indra.com>
From: Carolyn Kayta Barrows <kayta@frys.com>
Subject: Re: [h-cost] The history of swimwear......
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>Well, here's topic up for grabs to keep Bjarne from leaving.  Today I 
>noticed a book on learning to swim from the EEBO collection and I was 
>quite excited to see if it contained any woodcuts with bathing suits.  In 
>my head I was already to start making Elizabethan swimwear only to see 
>that the illustrations were of men and women swimming in the nude.  Of 
>course!!!  So, I'd be interested in hearing about the swimwear found in 
>any one else's period of interest.  Also, has anyone made any period 
>swimming outfits or togs?

Somebody I knew once wanted several of us to make Dickens' Fair period 
bathing costumes.  At that time Dickens' Fair was held on a pier in the 
Fisherman's Wharf part of San Francisco - we were going to 'streak' 
Dickens' Fair in our bathing costumes.


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

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Subject: Re: [h-cost] The history of swimwear......
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>Today I 
>noticed a book on learning to swim from the EEBO collection

What was the book please ?

Mel

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From h-costume-bounces@indra.com  Thu Nov 27 07:16:53 2003
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Subject: Re: [h-cost] wondering
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Bjarne!

  You can't leave now that I've suddenly become motivated to do some 
embroidery! Actually, I'm not very good at it and have always been 
searching for a decent book on the subject...And then, if everything goes 
according to plan, I'll be getting a bobbin lace making kit for 
Christmas, which I will not doubtedly start fiddling with on Christmas day.

  These days, I've been busy with Christmas present projects and trying 
to make myself a couple new things to wear (because at the moment, I'm 
completely clueless about sewing and so it's going to take a while...) 
  And I'm trying to soak up the creative and much experienced goodness 
from the h-costume list here. Which means, if you go, Bjarne, the list 
will not be *quite* so creative and experienced and there will be 
therefore less for me to soak up. 
  So stay. Please.

  I'll shut up now.
  
  Kate

  ceu@shaysnet.com


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Subject: Re: [h-cost] wool vendor
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----- Original Message ----- 
From: "Dawn" <dawn@reddawn.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Wednesday, November 26, 2003 4:02 PM
Subject: Re: [h-cost] wool vendor


> Robin Netherton wrote:
>
> > On Wed, 26 Nov 2003, Dianne & Greg Stucki wrote:
> >
> >
> >>I just won an eBay auction for five yards of dark green wool from a
> >>seller whose ID was en5001.
> >
> > That's Ephraim Neuman.  I bought the red wool for my new fitted dress
from
> > him. He mucked up my delivery, but when I did get it it was definitely
> > worth the wait, and the price was excellent.

Well, that's good to know! I won't have time to start any new projects till
after Christmas, so a wait on the shipping is no biggie right now. Just
happy to know that I got a decent deal!

Dianne

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From h-costume-bounces@indra.com  Thu Nov 27 08:01:56 2003
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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Wondering...here is a question that never got any
	takers....Cloak/Cape hood shapes....
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Hi all, 

First posting on this list for me though I have been lurking around the 
excellent archives for reference material for some time. 

Re: Hoods - The Gallery of Costume at PLatt Hall in Manchester has a really 
Little Red Riding Hood looking cloak with Kinsale-esque hood from the early 
19th C., Regency I think. I can't remember which book it's in, but perhaps they 
might be able to direct you further via e-mail.

Cheers, 

Hilary



Quoting "Saragrace T. Knauf" <saragrace@earthlink.net>:

> Hey, I'd even be interested in opinions or remembrances even if no one
> has
> an overall view point.......
> 
> -----Original Message-----
> From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com]
> On
> Behalf Of Saragrace T. Knauf
> Sent: Wednesday, November 19, 2003 2:32 PM
> To: h-costume@indra.com
> Subject: [h-cost] Cloak/Cape hood shapes....
> 
> Anyone have a handle on how hood shapes developed over the years?  I
> am
> interested in anything from anywhere (Europe, but influences are okay)
> from
> around 1400-1600.  The only ones that stand out in my mind are the
> duck
> billed (almost look like ball caps) Flemish ones, but that is because I
> have
> been 'doing' Breughel garb all summer.  I think I remember a pointed
> one
> somewhere with a tassle on the end.but that may have been a wizard
> dream.  
> 
> I am sure I have not seen the Kinsale Cloak hood shape any earlier than
> the
> late 1800s..anyone know of it sooner?  I love the hood, but I am afraid
> it
> screams Victorian.  
> 
> _______________________________________________
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> 
> _______________________________________________
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Hiya, 

A friend of mine is researching this very sweet and small article, made of 
coloures silks, and teensy tiny steel beads and is not finding a lot on it. 
Does anyone have any info on production/use/interesting anectodes for things 
like this? It's so small there's not a lot you could actually put in it, about 
7 in x 2 in wide.

ta muchly, 

hilary
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Status: RO

Sorry, Bjarne! I've just not been in a chatty mood, lately, and I've had
a lot of things going on lately--a sick kitty undergoing numerous vet
visits, loads of overtime at work, etc.  I've been getting in some
spinning (for holiday gifts), and I've been taking a weaving class.  My
first project (a scarf done in tabby weave, with a chenille weft) came
off the loom yesterday, and I'll be working on the warp for my next one
(dish towels for holiday gifts) today.  Then I'm going to tackle
something done in a cotton/linen blend, and THEN I'm going to start
playing with some medieval weaves.
OCC: I'm making an outfit for an event in January--10th c. Norse.  It'll
be my best approximation of what a woman in 10th c. Dublin would have
worn.  I'm hand-sewing it, so if anyone hears strangled screams coming
from NW Montana over the next couple of months, it's probably me <g>. 
It has an off-white linen undergown, a brownish-grey linen herringbone
twill overgown (very drapy, actually looks like wool), and a deep-red
wool twill apron-gown. Oh, and a tabby-silk coif for my head. I'd really
like to put some embroidery on it, but haven't been able to document
what I wanted to do...*sigh* Dunno about shoes yet, although I've
cruised Marc Carlson's website....
--sue

Ciorstan wrote:
> 
> Bjarne og Leif Drews wrote:
> > Hello,
> > I am considering maybe to sigm off this list. I think perhaps it is no
> > longer interresting to be on because hardly any ever ask for things anymore.
> > What is happening?
> > Have you all gone coma?
> 
> Well, the Americans have the excuse that this week is a major national
> holiday, with a four day weekend, which happens only once a year,
> reliably.  This week is Thanksgiving.  There is a lot of traveling going
> on right now as it's a major family get-together.
> 
> And the rest of you?  ;)
> 
> karen
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Thu Nov 27 10:57:53 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] bodice 19th century dress
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Deredere,
I have only made 1 dress from that period, so my skills and knollege isnt
bright neither but,
I think you could use this bodice, to me it looks ok, also at the center
front foto, your hip curve starts where the bodice ends, so i think it is
all right for you to use this.
Why do you think the bodice looks two wide at the front? To me it is fine,
remember they were not so scared to show a nice clevage those days :-)
I think it is ok, also considered you have little time and you dont have to
be that much perfectionist.

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  Thu Nov 27 11:07:24 2003
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] Tudor time bobbin lace.
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Status: RO

As Kimiko answered your question, i say that Neu Modelbuch from Germany
mostly have needle laces.
You must remember lace was a new invention those days, and needle lace came
first, bobbin lace later.
The mid 1500, years bobbin lace started to be used.
But in a neckline on a Henry VIII dress, you could use a bobbin lace, if it
is made in gold or silver thread. It would be much nicer, than if you baught
a machine made trim, and it would look more autentic, also if you embellish
your lace with a thick gimp thread in gold or silver.
Your Banquet sounds so lovely, i have always dreamed of participating in
such an event, especially, if there is live music, i love gay renaissance
music.
Have fun!!!

Bjarne





Leif og Bjarne Drews
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From h-costume-bounces@indra.com  Thu Nov 27 11:47:33 2003
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Status: RO

And I have a job, but an otherwise quiet life (no immediate family,
etc.).  So I'm able to catch up with emails at home, once I've fed the
beasts (I have four cats).  No one complains if I eat dinner in front of
the computer, or ignore the dishes, or whatever.
And Happy Turkey Day to you, too, Arlys!
--sue

Cynthia J Ley wrote:
> 
> On Wed, 26 Nov 2003 14:59:30 -0500 "Audrey Bergeron-Morin"
> <audreybmorin2@hotmail.com> writes:
> > > However, I have always secretly wondered how everyone on this list
> > seemed
> > to have so much time to chat away merrily--and still
> > costumne/work/take care
> > of homes! I'm afraid I am not nearly as good at 'multitasking' as
> > all of you
> > seem to be:)
> 
> I have a great Life. I just don't have a Job. ;)
> 
> Happy Thanksgiving, American pals!
> 
> Arlys
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Subject: Re: [h-cost] bodice 19th century dress
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Hi,

Bjarne og Leif Drews wrote:

>Deredere,
>I have only made 1 dress from that period, so my skills and knollege isnt
>bright neither but,
>I think you could use this bodice, to me it looks ok, also at the center
>front foto, your hip curve starts where the bodice ends, so i think it is
>all right for you to use this.
>Why do you think the bodice looks two wide at the front? To me it is fine,
>remember they were not so scared to show a nice clevage those days :-)
>
I alredy adjusted it before I took the picture. It fell of my shoulders...

>I think it is ok, also considered you have little time and you dont have to
>be that much perfectionist.
>
Unfortionally I am a perfectionist ;-)
Tomorrow I have to start on the real dress. I made the body a bit longer 
and I'll see what happends.
I have finished my corset but today I don't have time to see if it 
really fits.
But it looks much better than it did before.
Placed the boning where I thought would work best.

Greetings,
        Deredere

>
>Bjarne
>
>
>
>
>
>Leif og Bjarne Drews
>www.my-drewscostumes.dk
>
>http://home0.inet.tele.dk/drewscph/
>
>
>_______________________________________________
>h-costume mailing list
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>
>  
>



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To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Nurse from the 17th century
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Thanks for the information!!!!!!
Now I have an idea of what to expect.
I really like this part
" you would have probably had only rudimentary knowledge of medicine, 
and your purpose would have been to assist the sick or injured (you 
know, feeding, bedpans, etc.)" :-)

Greetings,
        Deredere

michael tartaglio wrote:

> Hi, Deredere. I think everyone else covered the subject well, but to 
> recap, if you were Catholic or from a Catholic part of the country, 
> you might have been a member of an Order attached to that hospital. If 
> you were Protestant, you were a lay person, and would have worn either 
> regular clothes or something issued to you to wear, probably moreso 
> fabric rather than a made-up set of clothes (and even if so, not made 
> to a recogniseably different pattern than other clothing) . You did 
> not specify which part of the 17th Cent., even though I do not believe 
> it matters in this case, as nurse uniforms per se were still a long 
> way off. BTW, at this time, unless you were a midwife or the assistant 
> to a Physician or Barber-Surgeon (assumedly either a wife or 
> daughter), you would have probably had only rudimentary knowledge of 
> medicine, and your purpose would have been to assist the sick or 
> injured (you know, feeding, bedpans, etc.). Also, the late 1600s saw a 
> loss of stability of the structure of women's medicine for women as 
> the male-dominated medical profession took over more and more of the 
> functions of the midwives, etc.  It is an interesting area of study. 
> Good Luck with your project. Mike T.
>
> Deredere Galbraith wrote:
>
>> Hi,
>>
>> What would a 17th century nurse from a hospital have looked like?
>>
>
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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] Bodice 19th century dress
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Thanks!!
This will help me a lot.

Greetings,
        Deredere

AlbertCat@aol.com wrote:

>In a message dated 11/26/2003 4:18:43 PM Eastern Standard Time, 
>triade@kabelfoon.nl writes:
>
>  
>
>>What do you think, schould I make the bodice longer at the waist??
>>
>>    
>>
>
>Yes, I think it's short. Bodices were long in the 1840s with long points at 
>the CF and straight across the back. Your point seems a good length but I would 
>make the bodice so it's at least an inch or so BELOW your waist line.
>
>Another little detail when you get to the skirt:
>
>The skirt should have a dome shape created with petticoats. This looks best 
>if there is real "spring" from where the skirt attaches to the waist. This can 
>be helped by cartridge pleating the skirt...right around the point [a great 
>period detail] with them kinda shallow in front, deeper at the sides and deep in 
>back. { I mention this because if I remember correctly, the wedding dress you 
>liked was flat pleated] Many skirts are folded at the top and left to hang 
>inside up to 3 to 6"  [and curved to fit the CF point....where you have to split 
>the excess inside]. This adds the needed spring. The 1840s gowns we rented 
>from "Little Dorrit" had this and it made a difference. 
>If you don't want to do this or don't have the fabric, you can make an extra 
>top ruffle to use as an underpinning. I did this for dresses we rented that 
>didn't have the extra fabric inside. I just made a strip of organdy something 
>like 8"X 4 yards, hemmed one end and put a casing in the other. Then ran a 
>drawstring through it and tied it around the actress' waist. We'd put them over the 
>petticoat unless they showed...then they went under it.
>
>I love this period.
>_______________________________________________
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>  
>

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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re:[h-cost] The history of swimwear......
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On Thu, 27 Nov 2003, Kate M Bunting wrote:

> AFAIK men swam in the nude until the mid-19th century. (Rev. Francis
> Kilvert, the diarist, was most annoyed at being made to wear bathing
> drawers on a visit to the seaside in the 1870s) I had to smile at the
> famous "wet shirt" scene in the BBC's "Pride and Prejudice" for this
> reason!

There's another costume movie with a more realistic scene -- one of the
Merchant-Ivory productions, maybe "Room with a View"? -- in which a group
of women on a walk happen past the swimming hole where their male
acquaintances (including the local pastor) are swimming nude. Hilarity
ensues.

--Robin


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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wool vendor
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On Thu, 27 Nov 2003, Dianne & Greg Stucki wrote:

> > > That's Ephraim Neuman.  I bought the red wool for my new fitted dress
> from
> > > him. He mucked up my delivery, but when I did get it it was definitely
> > > worth the wait, and the price was excellent.
> 
> Well, that's good to know! I won't have time to start any new projects till
> after Christmas, so a wait on the shipping is no biggie right now. Just
> happy to know that I got a decent deal!

To be more precise: After I sent my payment, he wrote me and said whoops,
they couldn't find the wool (or were out of it) and offered me my money
back or my choice of a different fabric. I was devastated and said so -- I
was on a deadline and needed *that* fabic and color. Then, whoops, the
piece mysteriously turned up, and he sent it.

When I got it it was actually six yards, one more than the five I'd bid on
and paid for, but the last yard or so had a couple of holes. I figure it
was probably the end of the bolt, and I wonder if he'd put up one too many
auctions for that bolt and tried to withhold mine to give to another
bidder. If so, someone else lost out. 

There were a few spots on that piece that had slightly paler dye --
visible only if you looked closely, or only on one side of the fabric. I
have seen this on wool many times, not just on "seconds," so I don't fault
the dealer for it. As with any piece of fabric, look over the whole thing,
both sides, in good light, before you plan your cutting. When I find
irregularities, I typically chalk around them, or baste around them so I
can tell from both sides where the trouble spot is. Then I can usually cut
to avoid the spots or place them in inconspicuous locations.

--Robin

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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] swim wear
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Kate wrote:
AFAIK men swam in the nude until the mid-19th century. (Rev. Francis
Kilvert, the diarist, was most annoyed at being made to wear bathing
drawers on a visit to the seaside in the 1870s) I had to smile at the
famous "wet shirt" scene in the BBC's "Pride and Prejudice" for this
reason!
In the late 17th century, Celia Fiennes describes going into the Roman
bath at Bath wearing a voluminous smock made of a stiff material "so
your shape is not seen".


Are you sure there is such a scene in Pride and Prejudice, well i missed
that, i must go and look more precisely,
In Northanger Abbey there also is a scene in the roman bath at Bath where
the ladies wears a full regency dress in the Bath or rather a long smock.
They also carries a strange wooden tray round their necks with a ribbon wich
nobody i have asked ever knew what was!
I have seen a 17th century print from the same famous Bath where ladies is
bathing fully dressed and men are bathing  in the adam costume. And
obviously it is quite the tone to do so even though ladies are pressent.

Bjarne



Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] mens swim wear
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And apropos this topic.
I often am going to a beach north of Copenhagen in the summertime. Many
inhabitats of Copenhagen goes there when the weather is fine and the
temperature is high.
Here it is devided, the north part is for the nudists, including me, the
south is for swimwear.
I prefer to bath in the nude, and i dont feel ashamed of telling you this. I
prefer to be tanned all over and also on my butt. (Laughs)

Bjarne





Leif og Bjarne Drews
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From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
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Subject: [h-cost] nurse from 17th century
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Have you seen the movie erheh? in danish translation it is something like,
The King, His Mistress and His Servant, or something like that.
It is London in the 1660ies and it is about a doctor who cures the Kings
dog.
Perhaps there is , there should be a picture of a nurse there, off cause it
is only a movie, but,


Bjarne





Leif og Bjarne Drews
www.my-drewscostumes.dk

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


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To: "Historical Costume" <h-costume@indra.com>
References: <003201c3b51d$5549ba00$4096fea9@CPQ21932199711>
Subject: Re: [h-cost] mens swim wear
Date: Thu, 27 Nov 2003 15:27:03 -0500
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> I prefer to bath in the nude, and i dont feel ashamed of telling you this.
I
> prefer to be tanned all over and also on my butt. (Laughs)

I like swimming in the nude simply because I love the feeling of water on my
skin. Most of the times it would be uncomfortable because of the taboo there
is around it, though. I'm all for reserved places for swimming in the nude,
but I'm very sensitive about people going around shirtless - I'm probably
just old-fashioned. The street, or the dining table, are not, in my mind,
appropriate places to go shirtless, even if you're a man. Just like I
thought, when I visited Paris, that the middle of downtown, even if it's on
the side of a river, is not the right place to tan your breasts...
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Subject: Re: [h-cost] nurse from 17th century
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Bjarne wrote:
> Have you seen the movie erheh? in danish translation it is something like,
> The King, His Mistress and His Servant, or something like that.
> It is London in the 1660ies and it is about a doctor who cures the Kings
> dog.
> Perhaps there is , there should be a picture of a nurse there, off cause it
> is only a movie, but,

I think the movie is "Restoration", based on the book of the same name.
The only nurses there are Quaker women involved in the running of a
mental institution, and they wear typical Quaker dress.

K.

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Subject: Re: [h-cost] mens swim wear
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> From: "Audrey Bergeron-Morin" <audreybmorin2@hotmail.com>

> but I'm very sensitive about people going around shirtless - I'm probably
> just old-fashioned. The street, or the dining table, are not, in my mind,
> appropriate places to go shirtless, even if you're a man.

Once in a while, all this historical immersion makes me forget a bit which
time I'm in -- and one day last summer I was walking down a street lined
with nice 19th century houses and overhung with lovely green-leaved trees --
and saw a man running up the lane in nothing but a pair of shorts and some
odd laced-up shoes. It dawned on me that in almost any other time, such a
sight would have required calling in the authorities -- for surely the poor
naked fellow had gone mad, or been robbed by highwaymen. Of course it was
just a jogger taking advantage of the lovely day! ;-)
Lauren

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Bjarne,
 
Don't go!  Though my favorite period is Elizabethan, I always plan to venture into 18th and 19th century "someday".  Knowing that knowledgeable and helpful people like you are out there is a comfort!  Knowing that when I do get around to it the experts will still be there keeps the inspiration alive.
 
Jennifer


Jennifer Fleury
Assistant Property Master
"Century City"
Universal Network Television

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On Thursday 27 November 2003 07:20 am, Catherine Ussailis wrote:
> Bjarne!
[snip]

>   These days, I've been busy with Christmas present projects and trying
> to make myself a couple new things to wear (because at the moment, I'm
> completely clueless about sewing and so it's going to take a while...)
>   And I'm trying to soak up the creative and much experienced goodness
> from the h-costume list here. Which means, if you go, Bjarne, the list
> will not be *quite* so creative and experienced and there will be
> therefore less for me to soak up.
>   So stay. Please.

I agree with Kate, Bjarne.  Your participation enriches the list for all of 
us.

As for the list being a bit slow, lately, well, lists are like that.  I 
participate on a number of mailing lists, and even the ones that are the most 
active have their slow periods.  That's why I like to be on more than one.  

Think of a slow period on h-costume as a period when you can get caught up 
with other important things in your life.  :-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Thursday 27 November 2003 10:46 am, Sue Clemenger wrote:
[snip]

> OCC: I'm making an outfit for an event in January--10th c. Norse.  It'll
> be my best approximation of what a woman in 10th c. Dublin would have
> worn.  I'm hand-sewing it, so if anyone hears strangled screams coming
> from NW Montana over the next couple of months, it's probably me <g>.

I quite understand. <g>  

> It has an off-white linen undergown, a brownish-grey linen herringbone
> twill overgown (very drapy, actually looks like wool), and a deep-red
> wool twill apron-gown. Oh, and a tabby-silk coif for my head. I'd really
> like to put some embroidery on it, but haven't been able to document
> what I wanted to do...*sigh* Dunno about shoes yet, although I've
> cruised Marc Carlson's website....

Yum.  Sounds great.  Good luck!

I've embarked on a project to recreate a costume based on 10th century Birka 
finds.  You can see a picture of a reproduction, from the National Museum of 
Antiquities in Stockholm (I think that's the English name; it's called 
"Historiska Museet" on the site) here:

http://www.historiska.se/histvarld/drakter/vkvinna/vkvinfr.htm

The Museum actually has made the pattern available for these and other 
reproductions as a PDF online from this page:

http://www.historiska.se/histvarld/draktmonster.htm

Yes, it's all in Swedish, but I think I understand enough to do a fair replica 
of the clothing ("Klipp 2" and "Framstycke" and "Bakstycke" seem pretty 
clear, for example), even though I can't understand enough Swedish to make 
out most of the information about why the reproduction was designed in the 
way it was.  :-(  

On the other hand, this is the first suggested reproduction that makes sense 
to me out of *why* Viking women might have wanted to pleat their linen 
smocks.  Usually, none or very little of a smock shows, so I couldn't figure 
out why anybody would ever bother to pleat one.  However, the theory put 
forth here apparently is that the length of hem and sleeves (and neckline) on 
all the layers was graduated, so that there would be white frills showing at 
the wrists and hem.  The effect is extremely pretty, and I hope I can 
recreate it effectively.

I plan to aim for a higher level of authenticity in this costume than I 
usually attempt.  First, I plan to obtain 100% linen for the smock, and pure 
wool for the gown and apron-dress.  (I'm looking for a diamond twill for the 
apron-dress, but the only fabrics I've seen that come close to that kind of 
broken twill are hemp blends, so I may compromise on herringbone).  I've 
chosen metallic trims that strike me as plausible approximations of period 
metallic weaves, since I'm not nearly good enough (or patient enough) at 
tablet-weaving to undertake a period design myself.  I attempted to run some 
of the pages through a web translator, and although the results were patchy 
they seemed to indicate that the inset on the gown was silk, so I intend to 
look for a fairly heavy silk tabby for the inset and use the remainder for 
the headcloth.  (I hope to find silk cord in a suitable color to trim the 
headcloth with, but may end up compromising on rayon, we'll see).  

My present intent is to use the same color scheme as the Museum's version, 
except I hope to find a alternative to the bright red for the apron-dress 
because I don't look well in that sort of red.  I was thinking about pale 
blue, but that doesn't seem appropriate somehow.  Of course, if I use a 
lighter blue for the tunic I can use a darker blue for the apron-dress.... (I 
haven't bought any fabric yet, fortunately.)

I'm not sure I'm ready to emulate you by handsewing the entire thing, but I 
will probably at least hand finish the sleeve-ends and necklines, (especially 
the sleeve ends because my wrists are so small it's easier that way).


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Michelle Plumb <mplumb@wideopenwest.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re:[h-cost] The history of swimwear......
Date: Thu, 27 Nov 2003 19:24:58 -0500
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> There's another costume movie with a more realistic scene -- one of the
> Merchant-Ivory productions, maybe "Room with a View"? -- in which a group
> of women on a walk happen past the swimming hole where their male
> acquaintances (including the local pastor) are swimming nude. Hilarity
> ensues.

I saw that!  Hysterical!

First time I ever saw a nekkid vicar.    ;-)
Michelle
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From h-costume-bounces@indra.com  Thu Nov 27 22:00:46 2003
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Date: Thu, 27 Nov 2003 18:58:36 -0800 (PST)
From: Kathy Hensley <nanaseven72003@yahoo.com>
Subject: Re: [h-cost] nurse from 17th century
To: Historical Costume <h-costume@indra.com>
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It's sounds like "Reformation"  starring Robert Downey Jr. and Meg Ryan has a part in it.  If that's the movie you're talking about, I don't remember anybody wearing any special nurses or doctor clothing.  He was personal physician to Charles I, II, or III, or  rather like you said, the kings dog.  This was not a very sanitary time in history.

Bjarne og Leif Drews <drewscph@post12.tele.dk> wrote:Have you seen the movie erheh? in danish translation it is something like,
The King, His Mistress and His Servant, or something like that.
It is London in the 1660ies and it is about a doctor who cures the Kings
dog.
Perhaps there is , there should be a picture of a nurse there, off cause it
is only a movie, but,


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  Thu Nov 27 22:23:01 2003
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Status: RO

Ooooh! Way cool! Do you mind if I forward this to some friends? and a
couple of SCA lists?
--sue

Catherine Olanich Raymond wrote:
> 
> 
> I've embarked on a project to recreate a costume based on 10th century Birka
> finds.  You can see a picture of a reproduction, from the National Museum of
> Antiquities in Stockholm (I think that's the English name; it's called
> "Historiska Museet" on the site) here:
> 
> http://www.historiska.se/histvarld/drakter/vkvinna/vkvinfr.htm
> 
> The Museum actually has made the pattern available for these and other
> reproductions as a PDF online from this page:
> 
> http://www.historiska.se/histvarld/draktmonster.htm
> 
> Yes, it's all in Swedish, but I think I understand enough to do a fair replica
> of the clothing ("Klipp 2" and "Framstycke" and "Bakstycke" seem pretty
> clear, for example), even though I can't understand enough Swedish to make
> out most of the information about why the reproduction was designed in the
> way it was.  :-(
> 
> On the other hand, this is the first suggested reproduction that makes sense
> to me out of *why* Viking women might have wanted to pleat their linen
> smocks.  Usually, none or very little of a smock shows, so I couldn't figure
> out why anybody would ever bother to pleat one.  However, the theory put
> forth here apparently is that the length of hem and sleeves (and neckline) on
> all the layers was graduated, so that there would be white frills showing at
> the wrists and hem.  The effect is extremely pretty, and I hope I can
> recreate it effectively.
> 
> I plan to aim for a higher level of authenticity in this costume than I
> usually attempt.  First, I plan to obtain 100% linen for the smock, and pure
> wool for the gown and apron-dress.  (I'm looking for a diamond twill for the
> apron-dress, but the only fabrics I've seen that come close to that kind of
> broken twill are hemp blends, so I may compromise on herringbone).  I've
> chosen metallic trims that strike me as plausible approximations of period
> metallic weaves, since I'm not nearly good enough (or patient enough) at
> tablet-weaving to undertake a period design myself.  I attempted to run some
> of the pages through a web translator, and although the results were patchy
> they seemed to indicate that the inset on the gown was silk, so I intend to
> look for a fairly heavy silk tabby for the inset and use the remainder for
> the headcloth.  (I hope to find silk cord in a suitable color to trim the
> headcloth with, but may end up compromising on rayon, we'll see).
> 
> My present intent is to use the same color scheme as the Museum's version,
> except I hope to find a alternative to the bright red for the apron-dress
> because I don't look well in that sort of red.  I was thinking about pale
> blue, but that doesn't seem appropriate somehow.  Of course, if I use a
> lighter blue for the tunic I can use a darker blue for the apron-dress.... (I
> haven't bought any fabric yet, fortunately.)
> 
> I'm not sure I'm ready to emulate you by handsewing the entire thing, but I
> will probably at least hand finish the sleeve-ends and necklines, (especially
> the sleeve ends because my wrists are so small it's easier that way).
> 
> --
> Cathy Raymond <cathy@thyrsus.com>
> 
> "Anything's within walking distance if you have the time." -Steven Wright
> _______________________________________________
> 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 Nov 27 23:01:01 2003
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To all interested:

I don't want to open the copyright can of worms again, but I thought this
might be useful to some of you.

At a recent convention I picked up a brochure from the Copyright Clearance
Center. This is non-profit (I think) organization that helps get permission
to use copyrighted works in "virtually any format" including web sites,
CD-ROMs, and DVDs. The person from the organization told me it was formed to
help people comply with copyright laws, because so many people want to get
permission but don't know how to even begin. They claim to be simple and
fast, and to serve more than 10,000 corporations and subsidiaries, law
firms, libraries, academic insitutions, copy shops, and U.S. government
agencies. 

Their web site is www.copyright.com and you can do everything over the web.
They offer international as well as U.S. services.

Just an FYI. I have never used them.

Gail Finke


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] wondering
Date: Thu, 27 Nov 2003 23:21:37 -0500
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On Thursday 27 November 2003 10:23 pm, Sue Clemenger wrote:
> Ooooh! Way cool! Do you mind if I forward this to some friends? and a
> couple of SCA lists?

[my original post, summarizine my upcoming Birka garb project, cut to spare 
electrons]

I assume, Sue, that what you really want to post is the links to the 
Historiska Museet site.  Yes, please pass them on; it is an incredibly cool 
site, even for those of us who can't read Swedish.

I can't imagine why you'd want to pass on my blather about my plans for making 
use of the Historiska Museet patterns, but if you want to, feel free to do 
that as well.  :-)  You may also want to pass on some of the comments and 
URLs I provide below.

The Historiska Museet site also has patterns for Viking male garb.  According 
to the text (as best as I can guess what the Swedish is saying), this one is 
based on finds from a 10th c site called Malardalen, with gaps filled in 
using information from finds at Birka, Hedeby and York.  Patterns for this 
outfit (including, surprisingly, the pouch) appear on the PDF page:

http://www.historiska.se/histvarld/drakter/vherre/vherrefr.htm

This page shows a man garbed as a fighter, complete with ringbyrnie and 
helmet; interestingly, they give a helmet pattern with the PDFs.  He wears 
the same style of breaches as the other.  If I have any clue at all what the 
Swedish says, his garb is largely based on 9th C Birka finds:

http://www.historiska.se/histvarld/drakter/vkrigare/vkrigfr.htm

There are also images of medieval garb, male and female; I'll just give the 
female garb (15th century)  here, to whet your appetite:

http://www.historiska.se/histvarld/drakter/smkvinna/smkvinnfr.htm

Finally, the words on the left side of each picture is a list of the items the 
person is wearing; clicking on one will take you to a page describing the 
item and giving closeups of that item alone.  If a picture says "Stor bild" 
on the lower right, clicking on the words will give you a large image of the 
person without any of the word links on it, but it doesn't seem to work on 
all browsers.

(Now if I could only find similar sites from a Danish or Norwegian museum....)  
:-)

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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> 
> http://www.historiska.se/histvarld/drakter/vkvinna/vkvinfr.htm
> 


Thanks for the link to a great site.
              -Helen/Aidan

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Date: Thu, 27 Nov 2003 20:43:53 -0800
From: Kimiko Small <kimiko@kimiko1.com>
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Subject: [h-cost] Royal School embroidery book on eBay
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If anyone is interested in the book
Royal School of Needlework: Embroidery Techniques
It is up on eBay right now, to end in 11+ hours.
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3568113267&category=29331

I already have the book and paid full price, and it is worth getting if you 
are interested in learning fine needlework, including crewel and gold work. 
I know Bjarne has recommended the book on several occasions as well.

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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Bjarne,
As an R.N. I MUST warn you to be VERY CAREFUL when sunbathing nude. You really Don't want to get the front view too tan or shudders...BURNED! I think that getting burned frontal view would be VERY painful! My Hubby sunbathes nude also and I give him the same warning! But I must admit it is fun sneaking up on him when he is face down. (Laughs at the thought of sneaking up with the water hose and giving an unexpected shower to face down Hubby)

Ysandra
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From: Robin Netherton <robin@shell.nightowl.net>
To: Historical Costume <h-costume@indra.com>
Subject: Re:[h-cost] The history of swimwear......
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On Thu, 27 Nov 2003, Michelle Plumb wrote:

> > There's another costume movie with a more realistic scene -- one of the
> > Merchant-Ivory productions, maybe "Room with a View"? -- in which a group
> > of women on a walk happen past the swimming hole where their male
> > acquaintances (including the local pastor) are swimming nude. Hilarity
> > ensues.
> 
> I saw that!  Hysterical!
> 
> First time I ever saw a nekkid vicar.    ;-)

And the actor playing the vicar was Simon Callow, a character actor who
shows up in quite a few period-costume pieces. (You might also recognize
him as half the gay couple in "Four Weddings and a Funeral.") I have no
idea what the vicar was like in the original novel of "Room with a View,"
but Callow was perfect for the part in the movie. Part of the humor of the
swimming scene, IIRC, was that he was romantically interested in the
Helena Bonham Carter character, and would have been doubly (triply?)
embarrassed for her to seem him naked -- as a male, a man of the church,
*and* a potential suitor. Though I may be completely misremembering the
plot.

--Robin


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Hi Kayta,

I'll be working Fezziwig's on Saturdays, but of course you know that!  And
Heather Meadows will be working at the Dark Garden corset booth.

- Kendra
http://demode.tweedlebop.com

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
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Subject: Re: [h-cost] wondering
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On Thursday 27 November 2003 11:34 pm, Helen Pinto wrote:
> > http://www.historiska.se/histvarld/drakter/vkvinna/vkvinfr.htm
>
> Thanks for the link to a great site.
>               -Helen/Aidan

You're welcome.  I was extremely pleased to have found it.

-- 
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>
[...] 
> My present intent is to use the same color scheme as the Museum's version, 
> except I hope to find a alternative to the bright red for the apron-dress 
> because I don't look well in that sort of red.  I was thinking about pale 
> blue, but that doesn't seem appropriate somehow.  Of course, if I use a 
> lighter blue for the tunic I can use a darker blue for the apron-dress.... (I 
> haven't bought any fabric yet, fortunately.)

Okay, are there photos anywhere on the website of these garments?
I'd love to see what they're supposed to be reproductions of, but 
trying to navigate the swedish pages is giving me a headache.  I'm 
sure I'd find them sooner or later, but a pointer to where the actual
photos of collections are stashed would be a big help.

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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>>> drewscph@post12.tele.dk 11/27/03 7:27:46 PM >>>
I wrote:
>AFAIK men swam in the nude until the mid-19th century. 
>I had to smile at the famous "wet shirt" scene in the BBC's "Pride and
>Prejudice" for this reason!
 
and Bjarne asked

>Are you sure there is such a scene in Pride and Prejudice, well i
missed
>that, i must go and look more precisely,

It's in the Colin Firth version, when Elizabeth is visiting Darcy's
house as a tourist with her aunt and uncle and he unexpectedly arrives
home. He dismounts from his horse and pauses for a bathe in a lake in
the grounds, leaving his shirt and breeches on, then on the way to the
house all wet he bumps into Lizzy, to their mutual embarrassment. It
caused much excitement among Colin Firth's female fans (well, he did
make a gorgeous Darcy) but I couldn't help thinking that in real life he
would have swum in the nude, which could have been even more
embarrassing!

>In Northanger Abbey there also is a scene in the roman bath at Bath
>where the ladies wears a full regency dress in the Bath or rather a
long >smock. They also carries a strange wooden tray round their necks
with a >ribbon wich nobody i have asked ever knew what was!

Perhaps for keeping small personal belongings safe while they were in
the water?
__

Kate Bunting
Library, University of Derby
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To: Historical Costume <h-costume@indra.com>
Subject: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Thu, 27 Nov 2003, Catherine Olanich Raymond wrote:
> http://www.historiska.se/histvarld/draktmonster.htm
> 
> Yes, it's all in Swedish, but I think I understand enough to do a fair
> replica of the clothing ("Klipp 2" and "Framstycke" and "Bakstycke"
> seem pretty clear, for example), even though I can't understand enough
> Swedish to make out most of the information about why the reproduction
> was designed in the way it was.  :-(

Which parts are you wondering about? I'd be happy to translate, to the 
best of my ability. :)
 
> I attempted to run some of the pages through a web translator, and
> although the results were patchy they seemed to indicate that the
> inset on the gown was silk, so I intend to look for a fairly heavy
> silk tabby for the inset and use the remainder for the headcloth.

Yes, the white inset is silk. The construction of the gown is taken from
several different archeoligical finds and combined to form a whole
garment. The silk inset is taken from grave no. 737 at Birka, while the
sleeves and body of the gown is based on (unspecified) finds from
Hedeby. The silver tabletwoven bands are based on finds in grave 965 at
Birka. They say that it's likely that the bands have gone all around the
sleeves and the torso of the garments.

> My present intent is to use the same color scheme as the Museum's
> version, except I hope to find a alternative to the bright red for the
> apron-dress because I don't look well in that sort of red. 

How about a darker or duller madder red? Or a green, maybe?

> I'm not sure I'm ready to emulate you by handsewing the entire thing,
> but I will probably at least hand finish the sleeve-ends and
> necklines, (especially the sleeve ends because my wrists are so small
> it's easier that way).

If you're going to make the "pleated" smock (is that the correct term
since the pleats aren't sewed down but redone every time they go out?),
which seems to be SO much work, I'd definitely advise doing all seams by
hand. The straight seams really go quite fast by hand as well, and is
nothing at all compared to the smock. And the satisfaction of *knowing*
that it's completely hand sewn is just great. :)

Ingrid

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From: Catherine Ussailis <ceu@equinox.shaysnet.com>
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Subject: [h-cost] 10th century Norse costume
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  Hey, what are all of you complaining about? Sewing by hand isn't so 
bad. Wimps. ;-)

  There's a museum in Iceland that houses traditional 10th c costumes as 
well. It's the National Museum of Iceland (aptly named, no?) in Rekjavik. 
I never went there (sadly) as it was being renovated while I was in town. 
But I heard it was a really drool-worthy place. They have a website:

http://www.natmus.is/English/exhibitions/permanent.htm

Sadly, there are no pictures of any costume on that page, but I'm sure if 
you emailed them, theyd send you a picture, or at least some information. 
I know you're doing 'Dublin', but if memory serves, there was enough 
trading and whatnot among the Vikings back and forth between Ireland and 
Iceland, so it should be fairly accurate. They obviously had embroidery 
tools, so you'd think there might be some remnant of embroidery available 
somewhere...

Also, I've found a picture of a reconstructed Icelandic (woman's 10th c) 
ensemble that someone in Finnland has made (not sure of the accuracy, 
though...) There's some very simple embroidery on the edge of the apron.

www.helsinki.fi/~lauusita/ pics/puvut/islanti.jpg

Hope this helps!

Kate!


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References: <1069939837.3fc5fc7d9795a@webmail.soton.ac.uk>
Subject: Re: [h-cost] 1810 needlelace reticule
Date: Fri, 28 Nov 2003 08:31:37 -0500
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Are you referring to the reticule that is usually termed 'miser's purse'?
The one that has the metal rings and the slit in the middle. I have some
that are knitted but have not seen any I would call needlelace.
Kathleen
----- Original Message ----- 
From: "Hilary Davidson" <hbgd103@soton.ac.uk>
To: <h-costume@indra.com>
Sent: Thursday, November 27, 2003 8:30 AM
Subject: [h-cost] 1810 needlelace reticule


> Hiya,
>
> A friend of mine is researching this very sweet and small article, made of
> coloures silks, and teensy tiny steel beads and is not finding a lot on
it.
> Does anyone have any info on production/use/interesting anectodes for
things
> like this? It's so small there's not a lot you could actually put in it,
about
> 7 in x 2 in wide.
>
> ta muchly,
>
> hilary
> _______________________________________________
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] 10th century Norse costume
Date: Fri, 28 Nov 2003 09:28:35 -0500
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On Friday 28 November 2003 07:54 am, Catherine Ussailis wrote:
>   Hey, what are all of you complaining about? Sewing by hand isn't so
> bad. Wimps. ;-)

You haven't seen my stitching.  :-)
>
>   There's a museum in Iceland that houses traditional 10th c costumes as
> well. It's the National Museum of Iceland (aptly named, no?) in Rekjavik.
> I never went there (sadly) as it was being renovated while I was in town.

Would you believe I was also in Revkjavik during the renovations?  So I didn't 
get to go either. :-(  (If I ever make it back to Iceland, I'm going, first 
thing).

> But I heard it was a really drool-worthy place. They have a website:
>
> http://www.natmus.is/English/exhibitions/permanent.htm

Thanks for the URL.

> Sadly, there are no pictures of any costume on that page, but I'm sure if
> you emailed them, theyd send you a picture, or at least some information.
> I know you're doing 'Dublin',

Nope, Sue Cleminger is doing "Dublin".  I'm not there yet; I'm interested in 
other  variations of Viking attire.  :-)


> but if memory serves, there was enough
> trading and whatnot among the Vikings back and forth between Ireland and
> Iceland, so it should be fairly accurate. They obviously had embroidery
> tools, so you'd think there might be some remnant of embroidery available
> somewhere...
>
> Also, I've found a picture of a reconstructed Icelandic (woman's 10th c)
> ensemble that someone in Finnland has made (not sure of the accuracy,
> though...) There's some very simple embroidery on the edge of the apron.
>
> www.helsinki.fi/~lauusita/ pics/puvut/islanti.jpg

Thanks, though this site I was familiar with.  I'm also familiar with the 
recreated costume you mean; it's based on early 11th c finds from Eura in 
Finland.  There's a book, "Ancient Finnish Costumes," that she mentions on 
the site that I've been looking for but have yet to find any clue of where a 
copy might exist. Carolyn Priest-Dorman talks a little, both about the Eura 
finds and the costume reconstruction, in her SCA monograph on early Northern 
European women's costume.

The National Museum of Finland also has a web site.  It isn't as rich in 
clothing information as the Historiska Museet's page, but it contains 
pictures of costume reconstructions.  The one on the left under the heading 
"Iron Age Costume and Dress" is based on the Eura finds.

http://www.nba.fi/NATMUS/Julkais/Prehist/silver.htm

> Hope this helps!

Every little bit helps.  Thank you.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From h-costume-bounces@indra.com  Fri Nov 28 09:45:55 2003
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Subject: [h-cost] needlelace sources?
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Can anyone recommend some good books or websites for learning to do
needlelace? I am especially interested in it as it would have been used
in medieval or Renaissance times. Was it done in England in the 14th
century? How was it used?

Now that I'm on a new drug therapy for the arthritis, my hands have
gotten much better and I've been wanting to try it for quite some time.
It is so beautiful!

thanks!

Arlys

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From: "Hilary Davidson" <hbgd103@soton.ac.uk>
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	<004901c3b5b3$f3de2020$6a5183d1@rmitchellras>
Subject: Re: [h-cost] 1810 needlelace reticule
Date: Fri, 28 Nov 2003 14:39:30 -0000
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Hmm, no  - it is entirely made of the lacy appearing needlework, coming to a
point at the bottom with little strawberries dangling off it. Like a little
crocheted evening bag of teh twenties, sort of, but more cylindrical. She's
found something suggesting they may have been made and given more as favours
between friends, which is plausible, as you could only fit a hanky in it,
and a small one at that.

On a whole other topic, I'm making small bits of dress while I have no room
to expand rolls of cloth, and am fiddling about with ruffs. To liven things
up, I'd love to make a coloured one, esp. if I could document the elusive
pic of Marie (a?) de Medici wearing a red ruff. It would be so cool......Any
know if it's a real picture or a dress myth??

----- Original Message -----
From: "Lloyd Mitchell" <rmitchell@washjeff.edu>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 28, 2003 1:31 PM
Subject: Re: [h-cost] 1810 needlelace reticule


> Are you referring to the reticule that is usually termed 'miser's purse'?
> The one that has the metal rings and the slit in the middle. I have some
> that are knitted but have not seen any I would call needlelace.
> Kathleen
> ----- Original Message -----
> From: "Hilary Davidson" <hbgd103@soton.ac.uk>
> To: <h-costume@indra.com>
> Sent: Thursday, November 27, 2003 8:30 AM
> Subject: [h-cost] 1810 needlelace reticule
>
>
> > Hiya,
> >
> > A friend of mine is researching this very sweet and small article, made
of
> > coloures silks, and teensy tiny steel beads and is not finding a lot on
> it.
> > Does anyone have any info on production/use/interesting anectodes for
> things
> > like this? It's so small there's not a lot you could actually put in it,
> about
> > 7 in x 2 in wide.
> >
> > ta muchly,
> >
> > hilary
> > _______________________________________________
> > h-costume mailing list
> > h-costume@mail.indra.com
> > http://mail.indra.com/mailman/listinfo/h-costume
> >
>
> _______________________________________________
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
Date: Fri, 28 Nov 2003 09:58:13 -0500
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On Friday 28 November 2003 05:08 am, Ingrid G. Storrø wrote:
> On Thu, 27 Nov 2003, Catherine Olanich Raymond wrote:
> > http://www.historiska.se/histvarld/draktmonster.htm
> >
> > Yes, it's all in Swedish, but I think I understand enough to do a fair
> > replica of the clothing ("Klipp 2" and "Framstycke" and "Bakstycke"
> > seem pretty clear, for example), even though I can't understand enough
> > Swedish to make out most of the information about why the reproduction
> > was designed in the way it was.  :-(
>
> Which parts are you wondering about? I'd be happy to translate, to the
> best of my ability. :)

All of it!  Or at least all of the subpages relating to the "Vikingatida 
kvinna" and what she's wearing....:-)

No, I wouldn't ask you to do that.  There's a surprising amount of text and I 
wouldn't want to impose on you.  

I can recognize individual words, in some cases.  Of course I recognize 
"Birka" .  I'm assuming "900-talet" is something like "10th C.", "tunika" is 
"tunic"; "rynkvecked sark" is "round-necked smock", and so forth, and I can 
tell from the results of clicking on the link that "Vad har hon over?"  is 
something like "What was worn over [the rest of her costume]?", but for more 
specific detail I'm lost.


> > I attempted to run some of the pages through a web translator, and
> > although the results were patchy they seemed to indicate that the
> > inset on the gown was silk, so I intend to look for a fairly heavy
> > silk tabby for the inset and use the remainder for the headcloth.
>
> Yes, the white inset is silk. The construction of the gown is taken from
> several different archeoligical finds and combined to form a whole
> garment. 

I figured the reconstruction would involve deductions based on different 
finds.  Thank you for the confirmation.


>The silk inset is taken from grave no. 737 at Birka, while the
> sleeves and body of the gown is based on (unspecified) finds from
> Hedeby. 

Thanks  again for the confirmation.  If I may ask, are your comments above  
based on your reading of the Swedish text on the Historiska Museet's page, or 
do you have information on this subject from another source?


 
>The silver tabletwoven bands are based on finds in grave 965 at
> Birka. They say that it's likely that the bands have gone all around the
> sleeves and the torso of the garments.

All around the sleeves I can readily believe, based on what I have read about 
other finds.  I note that the Historiska's proposed reconstruction would only 
put tabletwoven bands on the front of the torso, though.



> > My present intent is to use the same color scheme as the Museum's
> > version, except I hope to find a alternative to the bright red for the
> > apron-dress because I don't look well in that sort of red.
>
> How about a darker or duller madder red? 

Madder red isn't quite right either.  I'm thinking now about looking for a 
shade with more yellow in it; something closer to copper or even a brown.


>Or a green, maybe?

I thought about green.  I'd *like* to use green, but a truly pretty (and 
plausibly period) dark green is surprisingly difficult to find.  I've had 
occasion to look for dark green fabric over the years, and that's been my 
experience.  

If I give up on looking for wool fabric and go for a broken twill in a 
different fabric, I probably will end up with green, since all the hemp 
blends I've found are an undyed "natural" shade.  


> > I'm not sure I'm ready to emulate you by handsewing the entire thing,
> > but I will probably at least hand finish the sleeve-ends and
> > necklines, (especially the sleeve ends because my wrists are so small
> > it's easier that way).
>
> If you're going to make the "pleated" smock (is that the correct term
> since the pleats aren't sewed down but redone every time they go out?),

You make a good point, but "pleated" is the only term I've heard used.

> which seems to be SO much work,

It's more like the "broomstick" pleating that you see on certain cheap skirts 
from India.  Carolyn Priest-Dorman describes the process; it doesn't sound so 
bad.  


> I'd definitely advise doing all seams by
> hand. The straight seams really go quite fast by hand as well, and is
> nothing at all compared to the smock. And the satisfaction of *knowing*
> that it's completely hand sewn is just great. :)

I'd be more interested in this if I knew of a place where I could find linen 
or other natural fiber sewing thread. The usual poly-cotton or polyester 
stuff is particularly nasty for handsewing.

Thanks very much for your post. Take care.


-- 
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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On Friday 28 November 2003 02:32 am, Lee Thompson-Herbert wrote:
> > From: Catherine Olanich Raymond <cathy@thyrsus.com>
>
> [...]
>
> > My present intent is to use the same color scheme as the Museum's
> > version, except I hope to find a alternative to the bright red for the
> > apron-dress because I don't look well in that sort of red.  I was
> > thinking about pale blue, but that doesn't seem appropriate somehow.  Of
> > course, if I use a lighter blue for the tunic I can use a darker blue for
> > the apron-dress.... (I haven't bought any fabric yet, fortunately.)
>
> Okay, are there photos anywhere on the website of these garments?

So far as I've been able to tell, no.


> I'd love to see what they're supposed to be reproductions of, but
> trying to navigate the swedish pages is giving me a headache.

Sympathy.  I don't read Swedish either, and I've been staring at the pages for 
days now whenever I've had a spare moment.  :-)  But see Ingrid's response to 
one of my posts on this issue; she apparently reads Swedish, and her post 
sheds a bit of light on what's going on.


>  I'm
> sure I'd find them sooner or later, but a pointer to where the actual
> photos of collections are stashed would be a big help.

If you mean pictures of the actual artifacts, they would probably be 
disappointing.  Most costume research from the Viking period are based on 
extremely small fragrments  found in graves stuck to the back of brooches, 
and the like.  A lot of deduction is necessarily involved (which is why 
"reconstruction" is probably a better term than "reproduction", and I'm sorry 
if I forgot to use it in my enthusiasm.


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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On Fri, 28 Nov 2003, Catherine Olanich Raymond wrote:
> All of it!  Or at least all of the subpages relating to the "Vikingatida 
> kvinna" and what she's wearing....:-)
> 
> No, I wouldn't ask you to do that.  There's a surprising amount of text and I 
> wouldn't want to impose on you.  

Warning: incredibly long post! *phew*

I'd be happy to give it a try although I can't promise to get it all
done in one go, or a perfect translation. :) I'll just start at the top
and work my way down. At the bottom of this e-mail I've included the
translation of the intro and the bits for the headcloth, smock and
gown/tunic, with some of my comments in parenthesis. I'm sending it to
the list since there seems that others are interested as well. :) (If I
forget to do the rest, just poke me so I remember - I'm going home for
the weekend now.)
 
> I can recognize individual words, in some cases.  Of course I recognize 
> "Birka" .  I'm assuming "900-talet" is something like "10th C.", "tunika" is 
> "tunic"; "rynkvecked sark" is "round-necked smock", and so forth, and I can 
> tell from the results of clicking on the link that "Vad har hon over?"  is 
> something like "What was worn over [the rest of her costume]?", but for more 
> specific detail I'm lost.

Almost all correct, except that "Rynkveckad" isn't round-necked but
refers to the method of "pleating"  the smock by sewing gathering
threads in the garment at intervals. :)

> >The silk inset is taken from grave no. 737 at Birka, while the
> > sleeves and body of the gown is based on (unspecified) finds from
> > Hedeby. 
> 
> Thanks  again for the confirmation.  If I may ask, are your comments above  
> based on your reading of the Swedish text on the Historiska Museet's page, or 
> do you have information on this subject from another source?

These comments were just translated from the Swedish text on the pages, 
I'm afraid. I seem to remember that the reconstruction has been 
discussed on their web board as well; I could check if anything new came 
up there if you like.

> All around the sleeves I can readily believe, based on what I have read about 
> other finds.  I note that the Historiska's proposed reconstruction would only 
> put tabletwoven bands on the front of the torso, though.

Yes, the garment reconstrucion looks that way, but they just note this 
in the text.
 
> Madder red isn't quite right either.  I'm thinking now about looking for a 
> shade with more yellow in it; something closer to copper or even a brown.

Ooh, a nice rich brown - yum!

> I'd be more interested in this if I knew of a place where I could find linen 
> or other natural fiber sewing thread. The usual poly-cotton or polyester 
> stuff is particularly nasty for handsewing.

If you can't find it e-mail me privately; I'm sure we could arrange to 
send you some. Anything to raise authenticity! :D

Here's the translations so far:

Viking-age woman

This is a reconstruction of the type of costume many of the better off 
women of Birka were buried in during the 10th century. It's important to 
note that, as with the men's costume, the clothes and items that follow 
the dead to their graves are not necessarily the same things that were 
used, or the same garments that were worn when the person was alive. 
Many things actually point to the opposite, for example that the pleated 
smock she wears near the body can not be washed without losing the 
pleats.

Click the different parts, garments or pictures for more information.


Headcloth

The use of headcloths in the viking age is a matter of discussion; many 
hold that Viking-age women were liberated and did not need this garment, 
others say that this is an anacronism based on a modern way of thinking. 
During the middle ages, which come after the viking age, the use of 
headcloths are certain. This also goes for male headgear. For this 
reason we have chosen to let our viking-age woman wear a headcloth.

The headcloth is made from linen, and has a trimming of twisted wool. 
This woman wears a somewhat simple headcloth.

It is possible that beautiful hairdos were made for special occasions or 
for burials. There are finds of some type of diadem (headband-ish 
thing), or embroidery on some things that must have been worn on the 
head according to position in the graves. Picture-stones (no idea what 
the term for these is, sorry!) also suggest hair arranged in different 
ways.


Pleated smock (I'm just going to call it pleated for lack of a better 
term)

This pleated smock, in literatured called anything from "goffrad ock 
veckad" (which I can't translate beyond that it is gathered and bent 
somehow), to pleated, is one of the best-known garments from the viking 
age. In older books on the viking age one often sees illustrated women 
wearing this type of smock working on farms. That, however, is a very 
unikeli reconstruction. Firstly, these rich graves are unlikely to 
mirror the daily life of the vikings, and secondly it is not possible to 
wear the smock for more than a few hours since the gatherings will give 
out.

Click the pictures for larger ones

The "pleats" are made by sewing lots of seams across the fabric (I 
suppose they mean garment, really), which is then wetted in hot water. 
After this the gathering threads are pulled out and the smock left to 
dry. In many cases the process can take up to three days. The result 
after removing the threads is lots of gathers, which gives the fabric a 
"harmonica-effect". (I wish I could come up with a better translation 
for the word "veck", but gather or pleat seems to be the best I can do.)

This very long process makes it quite improbable that these garments 
have been used for daily wear. Many things point to that this very 
special type of smock was brought home by vikings who travelled east. 
There are examples of smocks of similar techniques and materials i 
southern Europe from historic times.

Today we think that this is a type of smock which was used for very 
special occasions, such as weddings and burials. For everyday use it is 
likely that ordinary linen or woollen smocks have been used.

Here you see the stitching holes that are left by the threads that keep 
the fabric together while it dries. (You see that they have some 
conflikcting info here; here it says that the threads are left in while 
it dries, which I think is more likely than taking them out while the 
garment is still wet! :) )

Tunic

This tunic, with a frontpiece of silk and decorated with silver 
tablet-woven bands, was worn between the pleated smock and the apron 
dress. The construction is a combination of several different 
archeological finds. The frontpiece is from grave 735 in Birka, tha arms 
and dress are based on finds from Hedeby, and the tablet-woven band 
based on finds frome grave 965 in Birka.

Click the pictures for larger ones.

The beautiful tablet-woven band, which is "applicerad" (which I think is 
meant to mean simply fastened to; I'm not sure if they mean to describe 
a particular technique) to the silk cloth, is based on one from a grave 
in Birka. From this find it was possible to conclude where the tortoise 
brooches had been placed on the woman's costume, as they had left dark 
impressions on the band, of which much is preserved.

It is likely that the tablet-woven bands have gone all the way around 
the sleeves and around the waist (more likely: torso, my comment) of the 
viking age garments.


Ingrid

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Subject: [h-cost] Re: Fillet : was: needlelace sources?
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Also any recommendations for fillet (filet??) lace?

thanks,
Arlys

On Fri, 28 Nov 2003 06:40:27 -0800 Cynthia J Ley <cley@juno.com> writes:
> Can anyone recommend some good books or websites for learning to do 
> needlelace? I am especially interested in it as it would have been 
> used in medieval or Renaissance times. Was it done in England in the 
> 14th century? How was it used?
> 
> Now that I'm on a new drug therapy for the arthritis, my hands have 
> gotten much better and I've been wanting to try it for quite some 
> time. It is so beautiful!
> 
> thanks!
> 
> Arlys  
> ________________________________________________________________ The 
> best thing to hit the internet in years - Juno SpeedBand! Surf the 
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From: Deredere Galbraith <triade@kabelfoon.nl>
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Hi,

I am working on the 1845 dress bodice and I noticed that the edge is 
done with piping.
I have never done this before and I was wondering how to do that.
Is it just a cord with fabric around it??
Schoult the fabrick be crossgrain or can I use a strait strip of fabric??

Greetings,
        Deredere



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Subject: Re: [h-cost] Piping question
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In a message dated 11/28/2003 11:11:44 AM Eastern Standard Time, 
triade@kabelfoon.nl writes:
Is it just a cord with fabric around it??
Schoult the fabrick be crossgrain or can I use a strait strip of fabric??

During the period, they usually used strait grain, but manipulating piping, 
especially around curved edges, is much easier if you use bias.

Ann Wass
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
Date: Fri, 28 Nov 2003 11:41:44 -0500
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On Friday 28 November 2003 10:59 am, Ingrid G. Storrø wrote:
> On Fri, 28 Nov 2003, Catherine Olanich Raymond wrote:
> > All of it!  Or at least all of the subpages relating to the "Vikingatida
> > kvinna" and what she's wearing....:-)
> >
> > No, I wouldn't ask you to do that.  There's a surprising amount of text
> > and I wouldn't want to impose on you.
>
> Warning: incredibly long post! *phew*

Oh, Ingrid, thank you!  I really didn't want to impose, but I do appreciate 
having the extra information.  


>
> I'd be happy to give it a try although I can't promise to get it all
> done in one go, or a perfect translation. :) 

You clearly know more Swedish than I do (since I "know" none, and am doing a 
lot of guessing based on words with similar forms in both languages and 
knowledge I've gleaned from other sources written in English).  :-)

>I'll just start at the top
> and work my way down. At the bottom of this e-mail I've included the
> translation of the intro and the bits for the headcloth, smock and
> gown/tunic, with some of my comments in parenthesis. I'm sending it to
> the list since there seems that others are interested as well. :) (If I
> forget to do the rest, just poke me so I remember - I'm going home for
> the weekend now.)

And I'm taking you way from your work too!  Thank you so much.



> > I can recognize individual words, in some cases.  Of course I recognize
> > "Birka" .  I'm assuming "900-talet" is something like "10th C.", "tunika"
> > is "tunic"; "rynkvecked sark" is "round-necked smock", and so forth, and
> > I can tell from the results of clicking on the link that "Vad har hon
> > over?"  is something like "What was worn over [the rest of her
> > costume]?", but for more specific detail I'm lost.
>
> Almost all correct, except that "Rynkveckad" isn't round-necked but
> refers to the method of "pleating"  the smock by sewing gathering
> threads in the garment at intervals. :)

Okay, thank you.  I'll remember that.


[snip]
> > Thanks  again for the confirmation.  If I may ask, are your comments
> > above based on your reading of the Swedish text on the Historiska
> > Museet's page, or do you have information on this subject from another
> > source?
>
> These comments were just translated from the Swedish text on the pages,
> I'm afraid. I seem to remember that the reconstruction has been
> discussed on their web board as well; I could check if anything new came
> up there if you like.

If you have the time, that would be wonderful.  

Thank you for mentioning the web board, though.  I meant to mention it in my 
post to the list.  The Historska Museet has a comment board; unfortunately, 
all the posts are in Swedish also; they appear to me to  include clothing and 
other subjects relating to Viking life.  I would be poring over the comments 
right now, except I understand even less of the comments on the board than I 
do of the Museum's web site.  :-)



> > All around the sleeves I can readily believe, based on what I have read
> > about other finds.  I note that the Historiska's proposed reconstruction
> > would only put tabletwoven bands on the front of the torso, though.
>
> Yes, the garment reconstrucion looks that way, but they just note this
> in the text.

Okay.  That's interesting.  I'd never heard any indication that Vikings may 
have used trimming on the rear of garments before.



> > Madder red isn't quite right either.  I'm thinking now about looking for
> > a shade with more yellow in it; something closer to copper or even a
> > brown.
>
> Ooh, a nice rich brown - yum!

I love nice browns.  But I don't think they go very well with blue, and I'm 
rather attached to making the tunic blue.  Maybe the best thing to do (since, 
unlike Sue, I'm not planning to do this for a particular event), is to 
refrain from looking for fabric for the apron-dress until I've obtained the 
wool I will use for the tunic.


> > I'd be more interested in this if I knew of a place where I could find
> > linen or other natural fiber sewing thread. The usual poly-cotton or
> > polyester stuff is particularly nasty for handsewing.
>
> If you can't find it e-mail me privately; I'm sure we could arrange to
> send you some. Anything to raise authenticity! :D

I will take a serious look around the web, and email you in case I come up 
dry; thank you once more.  :-)

[translations snipped but I'm saving Ingrid's post and will email them to 
anyone who is interested but misses part of this thread.]


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright

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Date: Fri, 28 Nov 2003 09:03:51 -0800 (PST)
From: KATHRYN WOLTERS <albrakat7@yahoo.com>
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Hello Ingrid
--thank you also from my end as well----! Our local SCA is planning an event with a Viking theme next year --this will be very useful for us:)
Cheers and Best--
Albra
(in not-so-sunny Ventura California)


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> From: "Bjarne og Leif Drews" <drewscph@post12.tele.dk>
> Subject: [h-cost] swim wear>
>
> In Northanger Abbey there also is a scene in the roman bath at Bath where
> the ladies wears a full regency dress in the Bath or rather a long smock.
> They also carries a strange wooden tray round their necks with a 
> ribbon wich
> nobody i have asked ever knew what was!
> I have seen a 17th century print from the same famous Bath where 
> ladies is
> bathing fully dressed and men are bathing  in the adam costume. And
> obviously it is quite the tone to do so even though ladies are pressent.
>
> Bjarne


I can remember when I was learning to swim at school at the age of 7 (I 
went to a private catholic girls school),we had swim boards that we used 
as floatation aids. They were about the size of a medium serving tray 
and they hung from your neck.  You would hold on to the board and jump 
into the water.  You could then lean onto the board and kick your feet 
to move around.  Maybe that is what you saw in the pictures.
Also, I can remember my older sisters saying that one of the reasons 
that girls in highschool could not be on a swimteam was because for 
boys, swimtrunks were optional, at the swim practices.  This was in the 
mid 1950's in the midwest of the states.

Linda T

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From h-costume-bounces@indra.com  Fri Nov 28 13:41:19 2003
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From: AlbertCat@aol.com
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Subject: Re: [h-cost] Piping question
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You can make piping out of regular twine. I have this huge skein of cotton 
twine I make piping out of all the time. 

Cut a strip of the dress fabric on the true bias longer than the waist or 
neck or armseye...whichever you're doing... measurement. Make sure it has enough 
width to have the right seam allowance. For instance, if you left 5/8ths SA at 
the bottom of the bodice, you'll need 10/8 ths [1-1/4th"] plus the small 
amount to cover the twine. The thickness of the twine will determine that extra 
amount. Real 1840s gowns I've seen have very tiny piping in the armseye [a must, 
every 19th century dress I've ever seen has piped armseyes. I usually just 
use the same size as everywhere else though] and larger or double piping at the 
waist and neck. 
Put the zipper foot on your machine, fold the bias strip over the twine so 
the raw edges of the SA are flush and run it through on a basting stitch close 
to the twine.

To apply it to the bodice, sew it with the piping on top [duh]. Line up the 
SAs and stitch just to the twine side of the basting that holds the piping 
together [so the basting won't show on the outside]....as close to the twine as 
possible. Yes, you'll need to use the zipper foot. [if your SAs aren't even or 
the same you'll have to hand baste it in place 1st].

On the armseye you can do this before the side seams are sewn. Carry the 
piping to the edge of the side seam SA.  Then the raw edges of the piping will be 
caught in the side seam. [You can do this at the bodice bottom too making it 
easier for alterations but this isn't period, just a handy theatrical trick.] 
After the sides are sewn up, set in your sleeves. Try to sew them on the same 
line of stitching that holds the piping. Hand basting them in 1st can make 
things go much easier.

To do the bottom of the bodice, with the side seams sewn up and pressed open, 
find the center of the piping strip. Pinch it then hand tack it together for 
about 1/16". This will give you a sharp point.  Place the pinch at the point 
of the CF point and hand baste the piping in place for a little ways on either 
side. You'll need to clip the piping's SA at the point. This will insure a 
neat, sharp point. Match up the SAs [or baste] and sew it one side at a time 
starting at the point going to the CB. Remember to have the piping on top [a 
little tricky on one side of the bodice] and sew just to the twine side of the 
basting so it won't show. Take the piping to the end of the CB SA.

You can leave extra length of piping at the CB for letting out the side 
seams. This would require undoing the piping on the back pieces but is better than 
piecing it at the sides. You just hide this extra length under the CB facings 
[or self facings].

It is period to close the bodice CB with hooks and bars. I sometimes use flat 
skirt hooks but this isn't a period hook. I also put a piece of plastic or 
feather boning behind the hooks. It is also advisable to slip a small bone in 
all 4 front darts, and bone the side seams too. You can do this all with Riglene 
or feather boning.

You can also use the SA of the piping at the waist and neck as their facings, 
whip or cross stitching them neatly down. In the neck, slip a 1/8" twill tape 
through the whipped down facing. [The ends can emerge through the whip 
stitched edge before you get to the CB facing.]Use this to pull up the off the 
shoulder neckline snugly. The bow you tie will be inside the bodice and any easing 
can be distributed across the back and won't show.

I've made a million of these, can you tell? I'm sure I can think of some 
other little chores for you. Give me a moment.... How about a 3" or 4" strip of 
commercial quilting hidden in the skirt hem?
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Date: Fri, 28 Nov 2003 21:56:39 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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Thanks!!
That is almost more than I want to know ;-)

Greetings,
        Deredere

AlbertCat@aol.com wrote:

>You can make piping out of regular twine. I have this huge skein of cotton 
>twine I make piping out of all the time. 
>
>Cut a strip of the dress fabric on the true bias longer than the waist or 
>neck or armseye...whichever you're doing... measurement. Make sure it has enough 
>width to have the right seam allowance. For instance, if you left 5/8ths SA at 
>the bottom of the bodice, you'll need 10/8 ths [1-1/4th"] plus the small 
>amount to cover the twine. The thickness of the twine will determine that extra 
>amount. Real 1840s gowns I've seen have very tiny piping in the armseye [a must, 
>every 19th century dress I've ever seen has piped armseyes. I usually just 
>use the same size as everywhere else though] and larger or double piping at the 
>waist and neck. 
>Put the zipper foot on your machine, fold the bias strip over the twine so 
>the raw edges of the SA are flush and run it through on a basting stitch close 
>to the twine.
>
>To apply it to the bodice, sew it with the piping on top [duh]. Line up the 
>SAs and stitch just to the twine side of the basting that holds the piping 
>together [so the basting won't show on the outside]....as close to the twine as 
>possible. Yes, you'll need to use the zipper foot. [if your SAs aren't even or 
>the same you'll have to hand baste it in place 1st].
>
>On the armseye you can do this before the side seams are sewn. Carry the 
>piping to the edge of the side seam SA.  Then the raw edges of the piping will be 
>caught in the side seam. [You can do this at the bodice bottom too making it 
>easier for alterations but this isn't period, just a handy theatrical trick.] 
>After the sides are sewn up, set in your sleeves. Try to sew them on the same 
>line of stitching that holds the piping. Hand basting them in 1st can make 
>things go much easier.
>
>To do the bottom of the bodice, with the side seams sewn up and pressed open, 
>find the center of the piping strip. Pinch it then hand tack it together for 
>about 1/16". This will give you a sharp point.  Place the pinch at the point 
>of the CF point and hand baste the piping in place for a little ways on either 
>side. You'll need to clip the piping's SA at the point. This will insure a 
>neat, sharp point. Match up the SAs [or baste] and sew it one side at a time 
>starting at the point going to the CB. Remember to have the piping on top [a 
>little tricky on one side of the bodice] and sew just to the twine side of the 
>basting so it won't show. Take the piping to the end of the CB SA.
>
>You can leave extra length of piping at the CB for letting out the side 
>seams. This would require undoing the piping on the back pieces but is better than 
>piecing it at the sides. You just hide this extra length under the CB facings 
>[or self facings].
>
>It is period to close the bodice CB with hooks and bars. I sometimes use flat 
>skirt hooks but this isn't a period hook. I also put a piece of plastic or 
>feather boning behind the hooks. It is also advisable to slip a small bone in 
>all 4 front darts, and bone the side seams too. You can do this all with Riglene 
>or feather boning.
>
>You can also use the SA of the piping at the waist and neck as their facings, 
>whip or cross stitching them neatly down. In the neck, slip a 1/8" twill tape 
>through the whipped down facing. [The ends can emerge through the whip 
>stitched edge before you get to the CB facing.]Use this to pull up the off the 
>shoulder neckline snugly. The bow you tie will be inside the bodice and any easing 
>can be distributed across the back and won't show.
>
>I've made a million of these, can you tell? I'm sure I can think of some 
>other little chores for you. Give me a moment.... How about a 3" or 4" strip of 
>commercial quilting hidden in the skirt hem?
>_______________________________________________
>h-costume mailing list
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>
>  
>



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Date: Fri, 28 Nov 2003 22:10:05 +0100
From: Deredere Galbraith <triade@kabelfoon.nl>
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I have pictures of my corset. It is to big at my hips :-(  it slides down.
Still have do a little about the bodice.

http://www.deredere.dds.nl/Victorian/Victorian.html

Greetings,
        Deredere


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From h-costume-bounces@indra.com  Fri Nov 28 17:34:50 2003
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Date: Fri, 28 Nov 2003 15:34:17 -0700
From: Elizabeth Lear <eliz@indra.com>
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Subject: [h-cost] OT: Muppet fabric
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I'm looking for fabric with Kermit or other Muppets on it that is
suitable for making clothing.  Anyone see anything like this out there
in your fabric shopping?

Thanks,
					...eliz


-- 
When you're working, live like you're not, so that when you're not,
you can live like you are.

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From: "Dawn Wood" <dawn@agesofelegance.co.uk>
To: "Historical Costume" <h-costume@indra.com>
References: <Pine.LNX.4.44.0311281600300.25557-100000@decna.com>
Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
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thank you Ingrid for that translation and to everyone for those links
I have just been asked to go to a Viking festival next year and as it is a
period I haven't made in several years was just starting to scour the web
for current thinking and info to try and make as accurately as possible and
then was going to post questions to clarify so you've saved me lots of time
as I had planned to base on the Birka finds

Dawn
Ages Of Elegance makers of historical clothing, uniforms and bridalwear
http://www.agesofelegance.co.uk 0113 277 6716


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Cathy Raymond wrote:
> I'd be more interested in this if I knew of a place where I could find
linen
> or other natural fiber sewing thread. The usual poly-cotton or polyester
> stuff is particularly nasty for handsewing.
>

Linen sewing thread is readily available at places which sell bookbinding
supplies.   Try Hewit's or Talas or Hollander's for linen thread by Barbour.
I think Hollanders may have the best variety.  Using beeswax will make
it easier.
                  -Helen/Aidan

http://www.hewit.com/

http://talasonline.com/

http://www.hollanders.com/



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Ingrid-
Thanks for the translations.
             -Helen/Aidan


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Subject: Re: [h-cost] Re: Swimwear
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Linda T wrote:
for> boys, swimtrunks were optional, at the swim practices.  This was in the
> mid 1950's in the midwest of the states.
>

Ditto the greater NYC area in the late 50's and early 60's; the only local
recreational facility was the Boy's Club, and the official reason for not
opening it up for girls was the fact that the boys did not wear swim trunks
in the pool...
                   -Helen/Aidan


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From: Heather Meadows <alice@wonderland.com>
Subject: [h-cost] swim wear
Date: Fri, 28 Nov 2003 17:08:21 -0800
To: Historical Costume <h-costume@indra.com>
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Colin Firth talked about this scene on NPR recently.  I think it was an 
interview with Terry Gross on Fresh Air.
Basically, they intended to do the scene with him nude, but there was 
no way it could air that way (according to him),
and since he wouldn't have worn a swimsuit, he opted to jump in in his 
clothing.


On Nov 28, 2003, at 1:24 AM, Kate M Bunting wrote:

>>>> drewscph@post12.tele.dk 11/27/03 7:27:46 PM >>>
> I wrote:
>> AFAIK men swam in the nude until the mid-19th century.
>> I had to smile at the famous "wet shirt" scene in the BBC's "Pride and
>> Prejudice" for this reason!
>
> and Bjarne asked
>
>> Are you sure there is such a scene in Pride and Prejudice, well i
> missed
>> that, i must go and look more precisely,
>
> It's in the Colin Firth version, when Elizabeth is visiting Darcy's
> house as a tourist with her aunt and uncle and he unexpectedly arrives
> home. He dismounts from his horse and pauses for a bathe in a lake in
> the grounds, leaving his shirt and breeches on, then on the way to the
> house all wet he bumps into Lizzy, to their mutual embarrassment. It
> caused much excitement among Colin Firth's female fans (well, he did
> make a gorgeous Darcy) but I couldn't help thinking that in real life 
> he
> would have swum in the nude, which could have been even more
> embarrassing!
>
>> In Northanger Abbey there also is a scene in the roman bath at Bath
>> where the ladies wears a full regency dress in the Bath or rather a
> long >smock. They also carries a strange wooden tray round their necks
> with a >ribbon wich nobody i have asked ever knew what was!
>
> Perhaps for keeping small personal belongings safe while they were in
> the water?
> __
>
> Kate Bunting
> Library, University of Derby
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
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Subject: [h-cost] Re: Viking dress from historiska.se
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Just a comment - and in no way to denigrate this material, they -do- draw 
some conclusions and make some assumptions in order to give AN answer to 
some questions (like which version of the "apron dress" they've elected to 
use, and using a design based on the Thorsbjerg trousers for the men's 
garment).  These are fine hypotheses, but you might want to not assume that 
they are -fact- :)

Marc

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From h-costume-bounces@indra.com  Fri Nov 28 21:38:44 2003
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Date: Fri, 28 Nov 2003 18:37:32 -0800
From: Kimiko Small <kimiko@kimiko1.com>
Subject: Re: [h-cost] OT: Muppet fabric
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At 03:34 PM 11/28/2003 -0700, you wrote:
>I'm looking for fabric with Kermit or other Muppets on it that is
>suitable for making clothing.  Anyone see anything like this out there
>in your fabric shopping?
>
>Thanks,
>                                         ...eliz


Hmmm... no, not lately, but I will keep an eye out for it. The closest item 
I have definitely seen lately is Muppet embroidery disks from Brother. They 
were on sale at my local JoAnns, whose store is closing. Now I have to 
drive 10+ miles to get to the next closest sewing store.

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  Fri Nov 28 22:53:46 2003
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Subject: Re: [h-cost] Dickens' Fair - who/where?
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Carolyn Kayta Barrows <kayta@frys.com> wrote:
> 
> Who on this list is working Dickens' Fair, or will be there in costume?  We 
> ought to say hello to each other like we did at Costume College.  You'll 
> know me - I'll be in costume ;)

Looks like Jody, Z and I will be there this Sunday.  I'll be in as much
costume as I can manage, as I have absolutely no way to conceal my leg
braces and wheelchair.  I only have two pairs of shoes that fit over these
braces, and neither of 'em are period.  I've got high-top black sneakers
and black and white spectator wingtips.  I think I may wear the spectators
just because.  And my fuscia petticoat. ;}  The big, foofy white cotton
petticoat I think stays at home, because it'll just end up caught in my
wheels.  

Time to dig up my rollers so I can curl the forepart of my hair.

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  Fri Nov 28 22:56:07 2003
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Date: Sat, 29 Nov 2003 14:55:31 +1100 (EST)
From: =?iso-8859-1?q?Bella?= <bella_lucia_da_verona@yahoo.com.au>
Subject: Re: [h-cost] needlelace sources?
To: Historical Costume <h-costume@indra.com>
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 --- Cynthia J Ley <cley@juno.com> wrote: 
> Can anyone recommend some good books or websites for learning to do
> needlelace? I am especially interested in it as it would have been used
> in medieval or Renaissance times. Was it done in England in the 14th
> century? How was it used?
> 
> Now that I'm on a new drug therapy for the arthritis, my hands have
> gotten much better and I've been wanting to try it for quite some time.
> It is so beautiful!
> 
> thanks!
> 


Hi Arlys,


I'm just starting out learning about all forms of lace making myself, so I don't have too many
books myself yet. I have the Reader's Digest Complete Guide to Needlecraft which is great for
how-to on embroidery and lacemaking. I've also go the Dover book Needlemade Laces and Net
Embroideries, which is a handy little book. Websites I've found helped are:

<http://www.sca.org.au/broiderers/newsletters/needlelace.html>
<http://www.geocities.com/monstonitrus/a_and_s/needlelace/needlelace.html>
<http://www.2020site.org/lace/evolution.html>
<http://www2.kumc.edu/itc/staff/rknight/Lace.htm>

And for a wonderful group of SCA lace-makers, who are very willing and able to answer all your
questions....
<http://groups.yahoo.com/group/sca-lace/>


Good luck! :)




=====
**************************************** 
Lady Bella Lucia da Verona 

*The Realm of Venus: Ladies Clothing in 16th Century Venice 
http://realmofvenus.renaissancewoman.net 
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From h-costume-bounces@indra.com  Sat Nov 29 01:27:36 2003
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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Re: Viking dress from historiska.se
Date: Sat, 29 Nov 2003 01:28:07 -0500
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On Friday 28 November 2003 09:24 pm, Marc Carlson wrote:
> Just a comment - and in no way to denigrate this material, they -do- draw
> some conclusions and make some assumptions in order to give AN answer to
> some questions (like which version of the "apron dress" they've elected to
> use, and using a design based on the Thorsbjerg trousers for the men's
> garment).  These are fine hypotheses, but you might want to not assume that
> they are -fact- :)

I'm not.  But there aren't a whole lot of "facts" in the area of Viking 
costume.  :-)

-- 
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: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Friday 28 November 2003 06:15 pm, Helen Pinto wrote:
> Cathy Raymond wrote:
> > I'd be more interested in this if I knew of a place where I could find
>
> linen
>
> > or other natural fiber sewing thread. The usual poly-cotton or polyester
> > stuff is particularly nasty for handsewing.
>
> Linen sewing thread is readily available at places which sell bookbinding
> supplies.   Try Hewit's or Talas or Hollander's for linen thread by
> Barbour. I think Hollanders may have the best variety.  Using beeswax will
> make it easier.

Thanks for the tip.  I found a couple of other places also.  Thanks.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
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On Sat, 29 Nov 2003, Catherine Olanich Raymond wrote:

> On Friday 28 November 2003 06:15 pm, Helen Pinto wrote:
> > Cathy Raymond wrote:
> > > I'd be more interested in this if I knew of a place where I could find
> > linen
> > > or other natural fiber sewing thread. The usual poly-cotton or polyester
> > > stuff is particularly nasty for handsewing.
> 
> Thanks for the tip.  I found a couple of other places also.  Thanks.

In case you haven't already found them, you might add Hedgehog Handworks
to your list. I get linen thread there.

Cotton thread is easy to find at regular sewing stores, and I get silk
thread at quilting and needlework specialty shops.

--Robin


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Greetings all,

I have been trying to find out what kind of looms were used in France 
500-800, with very little success.  Does anyone know of a source for 
this info?  Barber's book (20,000 Years of Women's Work) ends just 
about the time I need.  Does anyone have contact information for her? 
I've scoured every online journal database at our library.  Maybe I 
just don't have the right search terms.

Would the Oseburg loom be an example of a corollary? It's north of the 
region, but the same approximate time period.  I've read of 
archaeological evidence of looms in homes by way of post holes and warp 
weights being found, but haven't found any specific citations.

Thanks!

Althea Turner
*** althea@alfalfapress.com
*** http://www.alfalfapress.com

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From: Heather Meadows <alice@wonderland.com>
Subject: Re: [h-cost] Dickens' Fair - who/where?
Date: Sat, 29 Nov 2003 00:55:15 -0800
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I'll be working at the Dark Garden booth.  You can't miss me -- I'll be 
in a red and white striped set, looking like a candy cane.

.heather.


On Nov 26, 2003, at 2:04 PM, Carolyn Kayta Barrows wrote:

> Who on this list is working Dickens' Fair, or will be there in 
> costume?  We ought to say hello to each other like we did at Costume 
> College.  You'll know me - I'll be in costume ;)
>
> Saturdays I will be Mrs. Foote, the Fezziwig's Cockney cook, and will 
> be hanging around Fezziwig's (dancing place) in c1840 with a 
> bib-apron.  The peppermints in my right-hand pocket are available to 
> anyone who can get them out of my pocket in character.
>
> Sundays I will be Mrs. Creesy the Yankee clipper ship captain's wife, 
> and will be at the Adventurer's Club.  I will be wearing something 
> middle-class, and a blue bonnet with orange velvet "bluebells" when 
> outdoors.  Indoors I will likely be doing macrame.  At some point I 
> will be giving a short talk about the record-breaking 1851 voyage of 
> the 'Flying Cloud' (Mrs. Creesy was the navigator of her husband's 
> ship).
>
>
>        CarolynKayta Barrows
> dollmaker, fibre artist, textillian
>          www.FunStuft.com
>
>              //// \\\
>             ////-@@\\\
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From: Carolyn Kayta Barrows <kayta@frys.com>
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>During the period

I just saw an 1869 dress at Lacis (I had them haul it down off the wall so 
I could touch it) piped in bias.


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

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>I'll be working at the Dark Garden booth.  You can't miss me -- I'll be in 
>a red and white striped set, looking like a candy cane.

My Sunday outfit, at least first weekend, has a puce hooded capelet and a 
bright yellow striped skirt with a bias ruffle of the same.


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

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From: "Linda Rice" <vmaa2@cox.net>
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Subject: [h-cost] 
	FW: Morgan Library's medieval prayer books at the Kimbell, Fort
	Worth
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Coming to an American museum (hopefully) near you:


Subject: Morgan Library's medieval prayer books at the Kimbell, Fort Worth

 

While the Morgan Library is undergoing renovations, they put together a traveling exhibition of 58
prayer books, "Painted Prayers," from their unique collection, and it's at the Kimbell Art Museum
in Fort Worth until Jan. 18 and is scheduled later at the St. Louis Art Museum Oct. 2004-Jan. 2005
and Getty Museum Oct. 2005-Jan. 2006.  http://www.kimbellart.org/exhibitions/exh_file.cfm?id=100
and http://www.morganlibrary.org/exhibitions/painted/html/index.html

 

Among the often tiny treasures displayed are the DuBois Hours (1325), the Hours of Catherine of
Cleves (1440), and the Farnese Hours (1546), and prayer books by the Bedford Master, Jean Fouquet,
Simon Marmion, and Attavante degli Attavanti.  Two books by Jean Poyet--The Hours of Henry VIII and
the Prayer Book of Anne de Bretagne--are also show in an online exhibit,
http://www.morganlibrary.org/exhibitions/online/html/index_1024.html

 

The Morgan's online catalog, Corsair, links to details of the collection:
http://corsair.morganlibrary.org/cgi-bin/Pwebrecon.cgi?DB=local
<http://corsair.morganlibrary.org/cgi-bin/Pwebrecon.cgi?DB=local&Search_Arg=on+view+at+the+kimbell&
Search_Code=CALL&CNT=75> &Search_Arg=on+view+at+the+kimbell&Search_Code=CALL&CNT=75 (or click on
http://tinyurl.com/wyst).

 

As well, the Morgan has three other traveling exhibitions, one with 26 prints from the Picture
Bible (ca. 1248), dismounted while the book is in conservation.
http://www.morganlibrary.org/exhibitions/kings2/html/index.html         

 

::Linda::

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Date: Sat, 29 Nov 2003 08:20:35 -0500 (EST)
From: Catherine Ussailis <ceu@equinox.shaysnet.com>
Subject: Re: [h-cost] 10th century Norse costume
To: h-costume@indra.com
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On Friday 28 November 2003 07:54 am, Catherine Ussailis wrote:
>   Hey, what are all of you complaining about? Sewing by hand isn't so
> bad. Wimps. ;-)

You haven't seen my stitching.  :-)                   

  Well, you know, practice makes perfect...! ;) 

> Sadly, there are no pictures of any costume on that page, but I'm sure if
> you emailed them, theyd send you a picture, or at least some information.
> I know you're doing 'Dublin',

Nope, Sue Cleminger is doing "Dublin".  I'm not there yet; I'm interested in
other  variations of Viking attire.  :-) 

  Sorry! I knew that there were two people doing Viking, but got you 
mixed up - I had deleted one and not the other, if that makes sense.

  I actually have another unrelated question for anyone who knows...I've 
searched and searched online and can't find the answer: what sort of 
underwear existed for women in the 12th century? I'm especially 
interested in bust support. I"ve noticed (in woodcuts and paintings) that 
women tend to have rather 'perkier' busts than I would have thought 
during that time period than if they had no support. Did the outer 
garments do this job? 

  Thanks!

  Kate!


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Subject: Re: [h-cost] Piping question
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Great instructions here.  I use blind string which is white.  I have had the
experience of the twine bleeding by perspiration dampness or in the wash;
particularly on lighter fabrics.  Of course there is twine and twine. I keep
several sizes of cotton cord handy for this kind of project.
Kathleen
----- Original Message ----- 
From: <AlbertCat@aol.com>
To: <h-costume@indra.com>
Sent: Friday, November 28, 2003 1:39 PM
Subject: Re: [h-cost] Piping question


> You can make piping out of regular twine. I have this huge skein of cotton
> twine I make piping out of all the time.
>
> Cut a strip of the dress fabric on the true bias longer than the waist or
> neck or armseye...whichever you're doing... measurement. Make sure it has
enough
> width to have the right seam allowance. For instance, if you left 5/8ths
SA at
> the bottom of the bodice, you'll need 10/8 ths [1-1/4th"] plus the small
> amount to cover the twine. The thickness of the twine will determine that
extra
> amount. Real 1840s gowns I've seen have very tiny piping in the armseye [a
must,
> every 19th century dress I've ever seen has piped armseyes. I usually just
> use the same size as everywhere else though] and larger or double piping
at the
> waist and neck.
> Put the zipper foot on your machine, fold the bias strip over the twine so
> the raw edges of the SA are flush and run it through on a basting stitch
close
> to the twine.
>
> To apply it to the bodice, sew it with the piping on top [duh]. Line up
the
> SAs and stitch just to the twine side of the basting that holds the piping
> together [so the basting won't show on the outside]....as close to the
twine as
> possible. Yes, you'll need to use the zipper foot. [if your SAs aren't
even or
> the same you'll have to hand baste it in place 1st].
>
> On the armseye you can do this before the side seams are sewn. Carry the
> piping to the edge of the side seam SA.  Then the raw edges of the piping
will be
> caught in the side seam. [You can do this at the bodice bottom too making
it
> easier for alterations but this isn't period, just a handy theatrical
trick.]
> After the sides are sewn up, set in your sleeves. Try to sew them on the
same
> line of stitching that holds the piping. Hand basting them in 1st can make
> things go much easier.
>
> To do the bottom of the bodice, with the side seams sewn up and pressed
open,
> find the center of the piping strip. Pinch it then hand tack it together
for
> about 1/16". This will give you a sharp point.  Place the pinch at the
point
> of the CF point and hand baste the piping in place for a little ways on
either
> side. You'll need to clip the piping's SA at the point. This will insure a
> neat, sharp point. Match up the SAs [or baste] and sew it one side at a
time
> starting at the point going to the CB. Remember to have the piping on top
[a
> little tricky on one side of the bodice] and sew just to the twine side of
the
> basting so it won't show. Take the piping to the end of the CB SA.
>
> You can leave extra length of piping at the CB for letting out the side
> seams. This would require undoing the piping on the back pieces but is
better than
> piecing it at the sides. You just hide this extra length under the CB
facings
> [or self facings].
>
> It is period to close the bodice CB with hooks and bars. I sometimes use
flat
> skirt hooks but this isn't a period hook. I also put a piece of plastic or
> feather boning behind the hooks. It is also advisable to slip a small bone
in
> all 4 front darts, and bone the side seams too. You can do this all with
Riglene
> or feather boning.
>
> You can also use the SA of the piping at the waist and neck as their
facings,
> whip or cross stitching them neatly down. In the neck, slip a 1/8" twill
tape
> through the whipped down facing. [The ends can emerge through the whip
> stitched edge before you get to the CB facing.]Use this to pull up the off
the
> shoulder neckline snugly. The bow you tie will be inside the bodice and
any easing
> can be distributed across the back and won't show.
>
> I've made a million of these, can you tell? I'm sure I can think of some
> other little chores for you. Give me a moment.... How about a 3" or 4"
strip of
> commercial quilting hidden in the skirt hem?
> _______________________________________________
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Subject: Re: [h-cost] OT: Muppet fabric
Date: Sat, 29 Nov 2003 08:43:43 -0500
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I suspect that since the Sesame Street scenes are so heavily copyrighted,
that the fabric would only be available from the Muppet Corp. I can see the
liscencing the piece for embroidery but not fabric.  A different scale.
Kathleen
----- Original Message ----- 
From: "Kimiko Small" <kimiko@kimiko1.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Friday, November 28, 2003 9:37 PM
Subject: Re: [h-cost] OT: Muppet fabric


> At 03:34 PM 11/28/2003 -0700, you wrote:
> >I'm looking for fabric with Kermit or other Muppets on it that is
> >suitable for making clothing.  Anyone see anything like this out there
> >in your fabric shopping?
> >
> >Thanks,
> >                                         ...eliz
>
>
> Hmmm... no, not lately, but I will keep an eye out for it. The closest
item
> I have definitely seen lately is Muppet embroidery disks from Brother.
They
> were on sale at my local JoAnns, whose store is closing. Now I have to
> drive 10+ miles to get to the next closest sewing store.
>
> 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>
To: Historical Costume <h-costume@indra.com>
Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
Date: Sat, 29 Nov 2003 10:53:47 -0500
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On Saturday 29 November 2003 03:21 am, Robin Netherton wrote:

> In case you haven't already found them, you might add Hedgehog Handworks
> to your list. I get linen thread there.
>
> Cotton thread is easy to find at regular sewing stores, and I get silk
> thread at quilting and needlework specialty shops.

Thanks.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: Re: Viking dress from historiska.se, was Re: [h-cost] wondering
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I hadn't thought of Hedgehog, myself! <g> I got some quantity of linen
thread (actually intended for weaving) at a local store--the color's
about what I want, for sewing on colored garments, but it's a bit
stiff.  For sewing on white garments (shifts, veils, etc.), I'm just
going to use some of the linen thread I bought for lacemaking--white,
not as stiff, and comes in a wider range of sizes.  I got it through
Lacemaker.
--sue

Robin Netherton wrote:
> 
> On Sat, 29 Nov 2003, Catherine Olanich Raymond wrote:
> 
> > On Friday 28 November 2003 06:15 pm, Helen Pinto wrote:
> > > Cathy Raymond wrote:
> > > > I'd be more interested in this if I knew of a place where I could find
> > > linen
> > > > or other natural fiber sewing thread. The usual poly-cotton or polyester
> > > > stuff is particularly nasty for handsewing.
> >
> > Thanks for the tip.  I found a couple of other places also.  Thanks.
> 
> In case you haven't already found them, you might add Hedgehog Handworks
> to your list. I get linen thread there.
> 
> Cotton thread is easy to find at regular sewing stores, and I get silk
> thread at quilting and needlework specialty shops.
> 
> --Robin
> 
> _______________________________________________
> h-costume mailing list
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Oh, I'm not making it for an event in the "it's a viking-themed event"
or anything.  I just mostly did that to give myself a sort-of
deadline/reminder, since I'm doing lots of other textile-related (but
not clothing) stuff at the moment.  My colors and fabrics were just what
I happened to have in my stash that also happened to form a more-or-less
probable combination for the time (and the colors work well together!)
So you waiting for the right colors makes lots of sense.
And thank you, Ingrid, for all the great help and translating! What I'm
working on will actually be more Danish- and Norwegian-influenced than
Swedish, since I'm going with the theory that those influences would
have been more dominant in the Dublin area.  I have a number of friends,
though, who do Swedish or eastern-viking stuff, so the site will be just
perfect for them (plus, it's just plain cool, anyways!)
--sue

Catherine Olanich Raymond wrote:
> 
 
> I love nice browns.  But I don't think they go very well with blue, and I'm
> rather attached to making the tunic blue.  Maybe the best thing to do (since,
> unlike Sue, I'm not planning to do this for a particular event), is to
> refrain from looking for fabric for the apron-dress until I've obtained the
> wool I will use for the tunic.
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Subject: Re: [h-cost] needlelace sources?
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Thank you everyone for the great lists!

Arlys

On Sat, 29 Nov 2003 14:55:31 +1100 (EST) =?iso-8859-1?q?Bella?=
<bella_lucia_da_verona@yahoo.com.au> writes:
>  --- Cynthia J Ley <cley@juno.com> wrote: 
> > Can anyone recommend some good books or websites for learning to do
> > needlelace? I am especially interested in it as it would have been 
> used
> > in medieval or Renaissance times. Was it done in England in the 
> 14th
> > century? How was it used?
> > 
> > Now that I'm on a new drug therapy for the arthritis, my hands have
> > gotten much better and I've been wanting to try it for quite some 
> time.
> > It is so beautiful!
> > 
> > thanks!
> > 
> 
> 
> Hi Arlys,
> 
> 
> I'm just starting out learning about all forms of lace making 
> myself, so I don't have too many
> books myself yet. I have the Reader's Digest Complete Guide to 
> Needlecraft which is great for
> how-to on embroidery and lacemaking. I've also go the Dover book 
> Needlemade Laces and Net
> Embroideries, which is a handy little book. Websites I've found 
> helped are:
> 
> <http://www.sca.org.au/broiderers/newsletters/needlelace.html>
>
<http://www.geocities.com/monstonitrus/a_and_s/needlelace/needlelace.html
>
> <http://www.2020site.org/lace/evolution.html>
> <http://www2.kumc.edu/itc/staff/rknight/Lace.htm>
> 
> And for a wonderful group of SCA lace-makers, who are very willing 
> and able to answer all your
> questions....
> <http://groups.yahoo.com/group/sca-lace/>
> 
> 
> Good luck! :)
> 
> 
> 
> 
> =====
> **************************************** 
> Lady Bella Lucia da Verona 
> 
> *The Realm of Venus: Ladies Clothing in 16th Century Venice 
> http://realmofvenus.renaissancewoman.net 
> *Courtesan Mailing List 
> http://groups.yahoo.com/group/Courtesan/ 
> *****************************************
> 
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From: Joyce <joycebre@sbcglobal.net>
Subject: Re:  [h-cost] swim wear
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hee hee. I was watching this at home, my ex brought my son home just as 
this scene started. We both spoke at the same time - I said "I wonder if 
he's going to take his shirt off". Ex said "I  wonder if he's going to jump 
into that pool of stagnant water"
Vive la difference
--
Joyce

At 12:08 AM 11/29/2003 -0700, you wrote:
>Message: 8
>Date: Fri, 28 Nov 2003 17:08:21 -0800
>From: Heather Meadows <alice@wonderland.com>
>Subject: [h-cost] swim wear
>To: Historical Costume <h-costume@indra.com>
>Message-ID: <860B8676-2208-11D8-88E9-00039369A97A@wonderland.com>
>Content-Type: text/plain; charset=US-ASCII; format=flowed
>
>Colin Firth talked about this scene on NPR recently.  I think it was an
>interview with Terry Gross on Fresh Air.
>Basically, they intended to do the scene with him nude, but there was
>no way it could air that way (according to him),
>and since he wouldn't have worn a swimsuit, he opted to jump in in his
>clothing.
>
>
>On Nov 28, 2003, at 1:24 AM, Kate M Bunting wrote:
>
> >>>> drewscph@post12.tele.dk 11/27/03 7:27:46 PM >>>
> > I wrote:
> >> AFAIK men swam in the nude until the mid-19th century.
> >> I had to smile at the famous "wet shirt" scene in the BBC's "Pride and
> >> Prejudice" for this reason!
> >
> > and Bjarne asked
> >
> >> Are you sure there is such a scene in Pride and Prejudice, well i
> > missed
> >> that, i must go and look more precisely,
> >
> > It's in the Colin Firth version, when Elizabeth is visiting Darcy's
> > house as a tourist with her aunt and uncle and he unexpectedly arrives
> > home. He dismounts from his horse and pauses for a bathe in a lake in
> > the grounds, leaving his shirt and breeches on, then on the way to the
> > house all wet he bumps into Lizzy, to their mutual embarrassment. It
> > caused much excitement among Colin Firth's female fans (well, he did
> > make a gorgeous Darcy) but I couldn't help thinking that in real life
> > he
> > would have swum in the nude, which could have been even more
> > embarrassing!
> >

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Subject: Re: [h-cost] information on early medieval weaving techniques
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At 11:14 PM -0800 11/28/03, Althea Turner wrote:
>Greetings all,
>
>I have been trying to find out what kind of looms were used in 
>France 500-800, with very little success.  Does anyone know of a 
>source for this info?  Barber's book (20,000 Years of Women's Work) 
>ends just about the time I need.  Does anyone have contact 
>information for her? I've scoured every online journal database at 
>our library.  Maybe I just don't have the right search terms.
>
>Would the Oseburg loom be an example of a corollary? It's north of 
>the region, but the same approximate time period.  I've read of 
>archaeological evidence of looms in homes by way of post holes and 
>warp weights being found, but haven't found any specific citations.

There's an illustration of a loom in the 9th c. Utrecht Psalter, 
which gets it very roughly close to your time and place.  (I tend to 
use it as an example of how careful you need to be depending on 
manuscript illustrations to reflect the contemporary culture because 
a close copy of the exact same illustration also appears in a 
significantly later manuscript.)  It's an upright loom, somewhat 
similar to the Oseberg one, but constructed as part of a permanent 
roofed structure rather than free-standing.  The illustration is a 
somewhat impressionistic line-drawing, so that's about as much detail 
as is available.

Heather
-- 
*****
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hrjones@socrates.berkeley.edu
*****
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Subject: [h-cost] Piping
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>a must,  every 19th century dress I've ever seen has piped armseyes.<

While it's very, very common to have piped armscyes, it's not universal in 
the mid-century, at least.

  I've seen quite a few "everyday" sorts of dresses from the 1850s and 1860s 
(I realize you're speaking more 1840s, though, when it's very typical in 
many classes of garments) that do not have piping in the armscyes... the 
dresses tend to be cotton, and are otherwise fairly "bashed" together.  Most 
dresses of better quality that I've handled did use piping.  So, for 
instance, if I'm dressing someone in a very laboring-class garment, I might 
not use piping.  For Madame's best dress, I do.

Rather than say "always", I prefer to say that the majority of dresses tend 
to use piping to strengthen the armscyes, waist edges, neckline binding, and 
some sleeve bindings.

Though, I'd rather see a repro dress that skips piping, than see the huge 
poly-cotton pre-made piping in contrasting colors! LOL

Regards,
Elizabeth
http://www.elizabethstewartclark.com

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> Warning: incredibly long post! *phew*

But not any more as I'll be snipping it;)

Thank you all so much for all this information/translation. I have been
looking at some early norse garb that people have made and been sort of
tempted by it..

But the red and blue outfit on this site.. wow. I am really keen to make my
own version.

I did read all the disclaimers (such as that this may be specifically what
people were buried in, or worn for special occasions etc) and will then go
whole hog with the pleated shift as well;) Or rather a quick and dirty way
which is how I made a recent shift for a 16thC set of dresses.

I am guessing the colours are are also based on analysis of the fragments?

I'm not surprised by the colour at all;) But it's nice to see the two
vibrant colours next to each other in one ensemble;)

This site definately warrents further looking around;) I knew about it but
lost the exact spelling;)

michaela
http://costumes.glittersweet.com


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Subject: [h-cost] Latest outfits, was wondering
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I'm just recouperating from recent events and the sewing frenzy that led up
to them;)

http://costumes.glittersweet.com/sca/annameyer.htm

My hand sewn dress based of the sketch by Holbein of Anna Meyer for the
Meyer Altarpiece. The actual painting is reference for the blackwork and
some other details;)

http://costumes.glittersweet.com/sca/cleves.htm

Not a direct recreation of the Anne of Cleves portrait, but inspired by it
(sleeves mostly) as well as a number of other contempraneous
portraits/paintings.

So that's what I've been up to and am very tired.. but getting ideas for
next pieces of costume.... three more 16thC Northern Europe outfits, the
Viking outfit, and a dress based on something Sarah Bernhardt wore in the
1880s for a play I believe...

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Latest outfits, was wondering
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On Saturday 29 November 2003 07:37 pm, michaela wrote:

> http://costumes.glittersweet.com/sca/cleves.htm
>
> Not a direct recreation of the Anne of Cleves portrait, but inspired by it
> (sleeves mostly) as well as a number of other contempraneous
> portraits/paintings.

Just wanted to tell you how much I loved the Anne of Cleves dress.  Very 
beautiful (and very striking with your coloring; I can hardly blame you for 
wearing your hair down with it!)

-- 
Cathy Raymond <cathy@thyrsus.com>

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Subject: [h-cost] Viking dress from historiska.se
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>From: Catherine Olanich Raymond <cathy@thyrsus.com>
>I'm not.  But there aren't a whole lot of "facts" in the area of Viking
>costume.  :-)

Oh, I agree absolutely.

That's the problem with trying to re-create things - how we fill in the 
gaps.  (It's a major problem I find with shoemaking - we have about a third 
that we KNOW they did because of what we find, a third that is highly 
probable because of implied evidence here and there, and a third where God 
only knows).

Marc

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That dress looks gorgeous! I think that you made good choices even if the
teal color isn't typical of the period, it certainly suits your coloring.


Drat. Now I have another gown style that I want to make. So many styles,
so little time. *Sigh*



Karen


On Sun, 30 Nov 2003 13:37:11 +1300 "michaela" <thebruce@ihug.co.nz>
writes:
> I'm just recouperating from recent events and the sewing frenzy that 
> led up
> to them;)
> 
> http://costumes.glittersweet.com/sca/annameyer.htm
> 
> My hand sewn dress based of the sketch by Holbein of Anna Meyer for 
> the
> Meyer Altarpiece. The actual painting is reference for the blackwork 
> and
> some other details;)
> 
> http://costumes.glittersweet.com/sca/cleves.htm
> 
> Not a direct recreation of the Anne of Cleves portrait, but inspired 
> by it
> (sleeves mostly) as well as a number of other contempraneous
> portraits/paintings.
> 
> So that's what I've been up to and am very tired.. but getting ideas 
> for
> next pieces of costume.... three more 16thC Northern Europe outfits, 
> the
> Viking outfit, and a dress based on something Sarah Bernhardt wore 
> in the
> 1880s for a play I believe...
> 
> michaela
> http://costumes.glittersweet.com
> 
> 
> _______________________________________________
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> 
> 

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From h-costume-bounces@indra.com  Sun Nov 30 05:27:02 2003
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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Latest outfits, was wondering
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> That dress looks gorgeous! I think that you made good choices even if the
> teal color isn't typical of the period, it certainly suits your coloring.

Did you see the links I provided at the bottom? I do actually have a few
there. The problem with blue based colours is how expensive the paint was.
The dye is relatively easy and cheap to produce. There are also many more
instances of teal in the art work of various painters as well.

And it's a dye theat works on protein fibres (the tapestries are wool and
silk.)

There was a discussion on blues in the German Ren list some time back. We
basically came to the conclusion that you seea  lot of teal or grey blues
but very rarely if at all (untouched by printers) more vibrant blues.

michaela
http://costumes.glittersweet.com


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Subject: Re: [h-cost] Latest outfits, was wondering
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> > http://costumes.glittersweet.com/sca/cleves.htm
> >
> > Not a direct recreation of the Anne of Cleves portrait, but inspired by
it
> > (sleeves mostly) as well as a number of other contempraneous
> > portraits/paintings.
>
> Just wanted to tell you how much I loved the Anne of Cleves dress.  Very
> beautiful (and very striking with your coloring; I can hardly blame you
for
> wearing your hair down with it!)

Thanks. As a single young lady I can get away with it anyway;) 'Course the
actual age I really am would be a bit of a dissapointment to anyone really;)

michaela
http://costumes.glittersweet.com


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Help!  I can't get back into your site.  I would like to modify my membership but for some reason you don't show up on my list of yahoo groups.  Most frustrating.  Many thanks,



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From h-costume-bounces@indra.com  Sun Nov 30 10:36:35 2003
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From: "Chiara Francesca Arianna d'Onofrio" <chiara@io.com>
To: <h-costume@indra.com>
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This is not a yahoo group. If you look at the footer of this email you
will see the website address of
http://mail.indra.com/mailman/listinfo/h-costume you should be able to get
what you need there.

Chiara

Kathy Hensley said:
> Help!  I can't get back into your site.  I would like to modify my
> membership but for some reason you don't show up on my list of yahoo
> groups.  Most frustrating.  Many thanks,
>
>
>
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From h-costume-bounces@indra.com  Sun Nov 30 10:37:27 2003
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Subject: Re: [h-cost] Latest outfits, was wondering
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Isn't that the way it always goes, though? This list is very, very
dangerous for things like that--I never would have expected to go
lusting after things like a mid-19th century day dress, or a sack-backed
gown, or some of the fun North American/Colonial stuff.  Now, dangitall,
I *have* to make it, though I've nowhere to wear, and it's all the fault
of *this list*! ;-P
--sue

seamstrix@juno.com wrote:
> 
> That dress looks gorgeous! I think that you made good choices even if the
> teal color isn't typical of the period, it certainly suits your coloring.
> 
> Drat. Now I have another gown style that I want to make. So many styles,
> so little time. *Sigh*
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Subject: Re: [h-cost] Latest outfits, was wondering
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Yep, I spent quite awhile surfing them. It's nice to see that shades of
blue were used since you usually see the browny/goldy end of the color
spectrum more often. I'm also glad that blues are good for early 16th
century since I have coloring very much like yours and look like Death
(and not in a good-Neil Gaiman sort of way) in most warm browns and
golds.



Karen




On Sun, 30 Nov 2003 23:24:52 +1300 "michaela" <thebruce@ihug.co.nz>
writes:
> 
> Did you see the links I provided at the bottom? I do actually have a 
> few there. The problem with blue based colours is how expensive the 
> paint was. The dye is relatively easy and cheap to produce. There are
also 
> many more instances of teal in the art work of various painters as
well.
> 
> And it's a dye theat works on protein fibres (the tapestries are 
> wool and silk.)
> 
> There was a discussion on blues in the German Ren list some time 
> back. We basically came to the conclusion that you seea  lot of teal   

> or grey blues but very rarely if at all (untouched by printers) more
vibrant > blues.

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From: Dawn <dawn@reddawn.net>
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To: Historical Costume <h-costume@indra.com>
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I may have found my wool... fabric.com has marked their remaining stock 
of coat wool down to $7.46 a yard, and combined with their free shipping 
offer it's a steal...

Now to decide which color would look best with the dark peach lining.



Dawn




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From h-costume-bounces@indra.com  Sun Nov 30 11:15:31 2003
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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Latest outfits, was wondering
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Yup! I also found myself lusting after a lovely teal colored german style dress--in fact, have been looking over all those Lucas Cranach portraits all morning long when I'm supposed to be working on my Italians!!! Sigh!  So many gorgeous costumnes to make ! Sooo little time!
Albra
(who enjoys everyone sharing just the same:)

Sue Clemenger <mooncat@in-tch.com> wrote:
Isn't that the way it always goes, though? This list is very, very
dangerous for things like that--I never would have expected to go
lusting after things like a mid-19th century day dress, or a sack-backed
gown, or some of the fun North American/Colonial stuff. Now, dangitall,
I *have* to make it, though I've nowhere to wear, and it's all the fault
of *this list*! ;-P
--sue

seamstrix@juno.com wrote:
> 
> That dress looks gorgeous! I think that you made good choices even if the
> teal color isn't typical of the period, it certainly suits your coloring.
> 
> Drat. Now I have another gown style that I want to make. So many styles,
> so little time. *Sigh*
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From h-costume-bounces@indra.com  Sun Nov 30 11:21:52 2003
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Subject: Re: [h-cost] OT: Muppet fabric
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In a message dated 11/29/2003 8:39:46 AM Eastern Standard Time, 
rmitchell@washjeff.edu writes:
I suspect that since the Sesame Street scenes are so heavily copyrighted,
that the fabric would only be available from the Muppet Corp. I can see the
liscencing the piece for embroidery but not fabric.  A different scale.
Before Disney licensed their fabric for retail sale, I bought sheets to cut 
up.  That might be what you would have to do for the Muppets, too.

Ann Wass
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From h-costume-bounces@indra.com  Sun Nov 30 11:25:55 2003
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Actually, most of them would look good with a peach lining (except,
maybe, the salt-and-pepper one).
I'm gonna *have* to pry enough $ out of my budget for a few yards of the
claret for a jacket for my flemish outfit....
--sue

Dawn wrote:
> 
> I may have found my wool... fabric.com has marked their remaining stock
> of coat wool down to $7.46 a yard, and combined with their free shipping
> offer it's a steal...
> 
> Now to decide which color would look best with the dark peach lining.
> 
> Dawn
> 
> _______________________________________________
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From h-costume-bounces@indra.com  Sun Nov 30 11:34:49 2003
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Oh, absolutely! Whenever I'm feeling "stalled," or in a rut, there's
always something cool going on, on this list.  All I need to do is win
the lottery so I could do all of this full time ;o)
--sue

Albra wrote:
> 
> Yup! I also found myself lusting after a lovely teal colored german style dress--in fact, have been looking over all those Lucas Cranach portraits all morning long when I'm supposed to be working on my Italians!!! Sigh!  So many gorgeous costumnes to make ! Sooo little time!
> Albra
> (who enjoys everyone sharing just the same:)
> 
> Sue Clemenger <mooncat@in-tch.com> wrote:
> Isn't that the way it always goes, though? This list is very, very
> dangerous for things like that--I never would have expected to go
> lusting after things like a mid-19th century day dress, or a sack-backed
> gown, or some of the fun North American/Colonial stuff. Now, dangitall,
> I *have* to make it, though I've nowhere to wear, and it's all the fault
> of *this list*! ;-P
> --sue
> 
> seamstrix@juno.com wrote:
> >
> > That dress looks gorgeous! I think that you made good choices even if the
> > teal color isn't typical of the period, it certainly suits your coloring.
> >
> > Drat. Now I have another gown style that I want to make. So many styles,
> > so little time. *Sigh*
> _______________________________________________
> 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 Nov 30 12:24:39 2003
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From: Tasha McGann <demontsegur@yahoo.com>
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Subject: [h-cost] Robin Netherton visits the Philadelphia area!
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***********************************
This message may be forwarded to other email lists,
provided it is copied in full, including this notice.
***********************************

I'm pleased to announce that Robin Netherton, an
independent scholar specializing in medieval clothing,
will visit the Philadelphia, PA area on Saturday,
February 28, 2004 for a series of lectures about
feminine clothing styles of the 14th and 15th
centuries. Ms. Netherton will present five signature
lectures:

The Gothic Fitted Dress
The Greenland Gored Gown
Will the Real Sideless Surcote Please Stand Up?
The 15th-Century V-Neck Gown
The Problem of Women's Heraldic Dress

The day begins with a casual breakfast reception at
9am followed by Ms. Netherton's slide-enhanced
lectures starting at 10am sharp and going until
dinnertime. Small breaks between lectures and a lunch
break are included. The beautiful Bryn Mawr College
campus provides the setting for this day of learning
and information exchange.

For more details, see
http://www.cottesimple.com/robin_netherton/lecture_info.htm

*** Admission to this event is by advance registration
only. There will be no at-door admissions. Reserve
your space early! ***

-Tasha Kelly McGann



=====
***Updated as of November 1, 2003: Aumônière-mania!***
http://www.cottesimple.com
An exploration of European clothing and accessories from the late 14th/early 15th centuries.

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Latest outfits, was wondering
Date: Sun, 30 Nov 2003 13:03:58 -0500
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On Sunday 30 November 2003 05:24 am, michaela wrote:
> > That dress looks gorgeous! I think that you made good choices even if the
> > teal color isn't typical of the period, it certainly suits your coloring.
>
> Did you see the links I provided at the bottom? I do actually have a few
> there. 

I did.  I agree that the color was certainly attainable with fabric dyes; my 
only doubt was how commonly it was actually used.  :-)

>The problem with blue based colours is how expensive the paint was.
> The dye is relatively easy and cheap to produce. 

Really?  I had not heard that argument before.  Do you have a source for that?


[snip]
> There was a discussion on blues in the German Ren list some time back. We
> basically came to the conclusion that you see a lot of teal or grey blues
> but very rarely if at all (untouched by printers) more vibrant blues.

Gray blues are one thing.  But I think the color of your dress (which we are 
calling a "teal" blue) is pretty vibrant.  :-)

Thanks for the extra information.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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Subject: [h-cost] Yard Sale books
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Hi all!

Yesterday my guy came home with a tub full of books. Seems he had run across a yard sale and
stopped to see what they had. He didn't get much for himself, but he picked up these for me because
he knows I like costumes. Yowza! Some of them I know, many of them I've never heard of since I'm
not really into theatrical costuming. Plus, they are all from the '70's which is a quite a bit
before I started collecting books.

And I thought he hadn't been paying attention! ;o>

Here's the list, I would really appreciate any feedback/opinions on any of them. They all look
interesting so I will keep them, sorry! (Books and fabric are my neurotic obsessions!) Besides, he
only paid $8.00 for the whole box. 

Thanks bunches!

::Linda::
***************************************
The Book of Costume- Millia Davenport                                        1976- ISBN-0517037165 
single volume edition- (2 copies)  Slightly worn (hb)

English Costume of the Seventeenth Century- Iris Brooke              1977- ISBN-0713601574
Like new (hb)

A Handbook of Costume- Janet Arnold				     1973- ISBN-0333244893
Very Good (ppb)

Patterns of Fashion 1660-1860- Janet Arnold                                   1977- ISBN-0910482500
Very Good (ppb)

The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980- ISBN-0131812556        
Some wear (ppb)

Making Costumes for Plays-  Joan Peters/Anna Sutcliffe                    1977-  ISBN-0713400293
Very Good (hb) 

Dress and Undress- Elizabeth Ewing				      1978- ISBN-0896760006
Very Good (hb)

Basic Pattern Drafting for the Theatrical Costume Designer- Shaw   1974- ISBN-0910482497       
Very Good (spiral)

Designing and Making Stage Costumes- Motley			      1974- ISBN-0823013197
Good- written in

Ackermann's Costume Plates 1818 to 1828                                      1978- ISBN-0486236900
Like New










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Your books are totally worthless, Linda.  Sell them all to me for $12 and
make a huge profit?  (he he)

Martha




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From h-costume-bounces@indra.com  Sun Nov 30 15:03:50 2003
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Subject: Re: [h-cost] Latest outfits, was wondering
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Hi, sorry...I came into the discussion a little late (Thanksgiving and all).
Is the subject the color blue and was it used in a particular time in
history?  Perhaps I can help, I am a student of art history and did a paper
on the color blue.

Let me know.

Elizabeth

http://www.elizabethsartofdress.com


----- Original Message -----
From: "Catherine Olanich Raymond" <cathy@thyrsus.com>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 30, 2003 12:03 PM
Subject: Re: [h-cost] Latest outfits, was wondering


> On Sunday 30 November 2003 05:24 am, michaela wrote:
> > > That dress looks gorgeous! I think that you made good choices even if
the
> > > teal color isn't typical of the period, it certainly suits your
coloring.
> >
> > Did you see the links I provided at the bottom? I do actually have a few
> > there.
>
> I did.  I agree that the color was certainly attainable with fabric dyes;
my
> only doubt was how commonly it was actually used.  :-)
>
> >The problem with blue based colours is how expensive the paint was.
> > The dye is relatively easy and cheap to produce.
>
> Really?  I had not heard that argument before.  Do you have a source for
that?
>
>
> [snip]
> > There was a discussion on blues in the German Ren list some time back.
We
> > basically came to the conclusion that you see a lot of teal or grey
blues
> > but very rarely if at all (untouched by printers) more vibrant blues.
>
> Gray blues are one thing.  But I think the color of your dress (which we
are
> calling a "teal" blue) is pretty vibrant.  :-)
>
> Thanks for the extra information.
>
> --
> Cathy Raymond <cathy@thyrsus.com>
>
> "Anything's within walking distance if you have the time." -Steven Wright
> _______________________________________________
> h-costume mailing list
> h-costume@mail.indra.com
> http://mail.indra.com/mailman/listinfo/h-costume


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Date: Sun, 30 Nov 2003 13:11:38 -0800
To: Historical Costume <h-costume@indra.com>
From: Joan Jurancich <joanmj@surewest.net>
Subject: Re: [h-cost] Yard Sale books
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Wow!  He found a wonderful bargain.  Any one of the good references is 
worth *much* more than he paid for the boxful.  Congratulations!
Joan in Sacramento, CA

At 01:56 PM 11/30/2003 -0500, you wrote:
>Hi all!
>
>Yesterday my guy came home with a tub full of books. Seems he had run 
>across a yard sale and
>stopped to see what they had. He didn't get much for himself, but he 
>picked up these for me because
>he knows I like costumes. Yowza! Some of them I know, many of them I've 
>never heard of since I'm
>not really into theatrical costuming. Plus, they are all from the '70's 
>which is a quite a bit
>before I started collecting books.
>
>And I thought he hadn't been paying attention! ;o>
>
>Here's the list, I would really appreciate any feedback/opinions on any of 
>them. They all look
>interesting so I will keep them, sorry! (Books and fabric are my neurotic 
>obsessions!) Besides, he
>only paid $8.00 for the whole box.
>
>Thanks bunches!
>
>::Linda::
>***************************************
>The Book of Costume- Millia 
>Davenport                                        1976- ISBN-0517037165
>single volume edition- (2 copies)  Slightly worn (hb)
>
>English Costume of the Seventeenth Century- Iris Brooke              1977- 
>ISBN-0713601574
>Like new (hb)
>
>A Handbook of Costume- Janet Arnold                                  1973- 
>ISBN-0333244893
>Very Good (ppb)
>
>Patterns of Fashion 1660-1860- Janet 
>Arnold                                   1977- ISBN-0910482500
>Very Good (ppb)
>
>The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980- 
>ISBN-0131812556
>Some wear (ppb)
>
>Making Costumes for Plays-  Joan Peters/Anna 
>Sutcliffe                    1977-  ISBN-0713400293
>Very Good (hb)
>
>Dress and Undress- Elizabeth 
>Ewing                                    1978- ISBN-0896760006
>Very Good (hb)
>
>Basic Pattern Drafting for the Theatrical Costume Designer- Shaw   1974- 
>ISBN-0910482497
>Very Good (spiral)
>
>Designing and Making Stage Costumes- 
>Motley                           1974- ISBN-0823013197
>Good- written in
>
>Ackermann's Costume Plates 1818 to 
>1828                                      1978- ISBN-0486236900
>Like New
>
>
>
>
>
>
>
>
>
>
>_______________________________________________
>h-costume mailing list
>h-costume@mail.indra.com
>http://mail.indra.com/mailman/listinfo/h-costume

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From: "Linda Rice" <vmaa2@cox.net>
To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] RE: yard sale books
Date: Sun, 30 Nov 2003 16:17:56 -0500
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Really, Martha? Gosh, ok!  (She says, in her best Victoria Jackson voice while shaking her blonde
hair from side to side) ;o>

Actually, I looked them up on AddAll, so I have a good ballpark figure of their worth. BUT, what I
was wondering is how 'good' are some of the more obscure titles. I know that the Arnold books are a
treasure, as is the Davenport. Funny, but the Iris Brooks is in the best condition of all of them,
so I guess the owner knew to not rely on it too!  

Can anyone say if the single edition of Davenport is as good as the 2 volume set? When we were
talking about it a few weeks ago I *almost* bought a used set then but decided to wait. If the 1
vs. 2 books comparison was made, I'm sorry but I must have missed it. 

I made my guy take me back over to the house this morning to see if they were going to put anything
out today. No luck!
(Jeez, you'd think that if this lady had costuming books, she'd have fabric too!)

Thanks!

::Linda::

-----Original Message-----
From: h-costume-bounces@indra.com [mailto:h-costume-bounces@indra.com] On Behalf Of Martha Kelly
Sent: Sunday, November 30, 2003 2:22 PM
To: h-costume@indra.com
Subject: [h-cost] RE: yard sale books

Your books are totally worthless, Linda.  Sell them all to me for $12 and
make a huge profit?  (he he)

Martha




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> ***************************************
> The Book of Costume- Millia Davenport                                 
>  1976- ISBN-0517037165 single volume edition- (2 copies)  Slightly
> worn (hb)

Excellent reference. Often quite expensive if not nearly falling 
apart.

> English Costume of the Seventeenth Century- Iris Brooke             
> 1977- ISBN-0713601574 Like new (hb)

Iris Brooke. That says it all. (Meant for the theatre, not really 
useful for historical nowadays.)

> A Handbook of Costume- Janet Arnold				     1973- ISBN-0333244893 Very
> Good (ppb)

This is a find. It can be difficult to find this and when you do it's 
usually quite pricey. Lots of good information about how to research 
clothing.

> Patterns of Fashion 1660-1860- Janet Arnold                           
>        1977- ISBN-0910482500 Very Good (ppb)

Not my favorite tiem period, but it is an excellent book.

> The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980-
> ISBN-0131812556        Some wear (ppb)

This one was later renamed "Costumer Technician's Handbook". It is 
the more useful of the books (the other is the "Costume Designer's 
Handbook.) It has a lot of explanations for things like how to draft 
a body block (for men, women, pants, skirts, etc.) Most of the 
pattern drafting books (except for Bob Trump's Doublet and Trunkhose 
book) talk about how to draft a woman's pattern. This one actually 
shows how to do it for a man as well. It also briefly discusses 
useful techniques such as cartridge pleating.

> Making Costumes for Plays-  Joan Peters/Anna Sutcliffe                
>    1977-  ISBN-0713400293 Very Good (hb) 

Theatrical, not historical based.

> Dress and Undress- Elizabeth Ewing				      1978- ISBN-0896760006 Very
> Good (hb)

She has two about the history of underclothes. One is horrible and 
the other is ok but not great. I can't remember which one this is.
 
> Basic Pattern Drafting for the Theatrical Costume Designer- Shaw  
> 1974- ISBN-0910482497       Very Good (spiral)

Even if it is theatrical, it's always nice to know how to draft. It 
can help you when you find out how the actual historical costume was 
constructed as you can use the pattern drafting and draping 
techniques you learn from it.

> Designing and Making Stage Costumes- Motley			      1974-
> ISBN-0823013197 Good- written in

Theatrical, not historical based.

> Ackermann's Costume Plates 1818 to 1828                               
>    1978- ISBN-0486236900 Like New

Not my time period, but I've heard it's useful.

Kat
<kat@redtrollforge.com>


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> Can anyone say if the single edition of Davenport is as good as the 2
> volume set? When we were talking about it a few weeks ago I *almost*
> bought a used set then but decided to wait. If the 1 vs. 2 books
> comparison was made, I'm sorry but I must have missed it. 

They are basically the same book, just the two volumes were bound as 
one. In fact, you can look through the book and see exactly where one 
book ends and the other begins.

Kat
<kat@redtrollforge.com>


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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] Yard Sale books
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On Sunday 30 November 2003 01:56 pm, Linda Rice wrote:

> Here's the list, I would really appreciate any feedback/opinions on any of
> them. They all look interesting so I will keep them, sorry! (Books and
> fabric are my neurotic obsessions!) Besides, he only paid $8.00 for the
> whole box.
[snip]


I agree with Joan--$8.00 for these is a good deal, even though some are much 
more useful than others.

My two cents about the items:

> ***************************************
> The Book of Costume- Millia Davenport                                      
>  1976- ISBN-0517037165 single volume edition- (2 copies)  Slightly worn
> (hb)

Excellent general survey, with tons of photos of costume in period art. A 
classic of its kind.


> English Costume of the Seventeenth Century- Iris Brooke              1977-
> ISBN-0713601574 Like new (hb)

I'm not familiar with this particular book, but in general Brooke's 
illustrations tend to be redrawings of period art, she seldom states her 
sources or provides references for her conclusions about them.


> A Handbook of Costume- Janet Arnold				     1973- ISBN-0333244893
> Very Good (ppb)

I have heard of this book but never actually seen a copy.  By and large, 
though, Arnold's books tend to be very informative and useful.
>
> Patterns of Fashion 1660-1860- Janet Arnold                                
>   1977- ISBN-0910482500 Very Good (ppb)

I have this one.  The text is excellent; can't speak to the patterns as I have 
never tried to scale them up to a usable size.


>
> The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980-
> ISBN-0131812556 Some wear (ppb)

Geared for the theatre, not historic costume.


> Making Costumes for Plays-  Joan Peters/Anna Sutcliffe                   
> 1977-  ISBN-0713400293 Very Good (hb)
>
> Dress and Undress- Elizabeth Ewing				      1978- ISBN-0896760006
> Very Good (hb)
>
> Basic Pattern Drafting for the Theatrical Costume Designer- Shaw   1974-
> ISBN-0910482497 Very Good (spiral)
>
> Designing and Making Stage Costumes- Motley			      1974- ISBN-0823013197
> Good- written in

Can't really speak to these as I don't have copies.

>
> Ackermann's Costume Plates 1818 to 1828                                    
>  1978- ISBN-0486236900 Like New

Interesting book of reproductions of period plates; very useful if you are 
interested in the period.


I note that the Davenport is out of print and I've never seen the set, either 
the one volume edition or otherwise, for less than $40.  Arnold's books tend 
to run $35-$40 new.  So you got a real deal!  (I recommend that you do 
something very nice for your husband as a reward to him for having paid 
enough attention to know that he should bring these home.)  :-)


-- 
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>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] RE: yard sale books
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On Sunday 30 November 2003 04:17 pm, Linda Rice wrote:
[snip]
> I made my guy take me back over to the house this morning to see if they
> were going to put anything out today. No luck!
> (Jeez, you'd think that if this lady had costuming books, she'd have fabric
> too!)

She may not have been a costumer herself; maybe these are part of an 
inheritance from a mother or aunt.

-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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To: "'Historical Costume'" <h-costume@indra.com>
Subject: RE: [h-cost] Yard Sale books
Date: Sun, 30 Nov 2003 16:28:13 -0500
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Thanks Kat, this is just what I needed to know!  

Actually, the Shaw book, _Basic Pattern Drafting for the Theatrical Costume Designer_ has really
good, clear illustrations. I can see learning a lot from it! 

::Linda::

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



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Subject: Re: [h-cost] Yard Sale books
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Eight dollars?  Good grief why can't I find garage sales like that.  There
is over two hundred dollars if not more, worth of books there.  Tell your
husband he did a good lob.  Debbie
----- Original Message ----- 
From: "Linda Rice" <vmaa2@cox.net>
To: <h-costume@indra.com>
Sent: Sunday, November 30, 2003 10:56 AM
Subject: [h-cost] Yard Sale books


> Hi all!
>
> Yesterday my guy came home with a tub full of books. Seems he had run
across a yard sale and
> stopped to see what they had. He didn't get much for himself, but he
picked up these for me because
> he knows I like costumes. Yowza! Some of them I know, many of them I've
never heard of since I'm
> not really into theatrical costuming. Plus, they are all from the '70's
which is a quite a bit
> before I started collecting books.
>
> And I thought he hadn't been paying attention! ;o>
>
> Here's the list, I would really appreciate any feedback/opinions on any of
them. They all look
> interesting so I will keep them, sorry! (Books and fabric are my neurotic
obsessions!) Besides, he
> only paid $8.00 for the whole box.
>
> Thanks bunches!
>
> ::Linda::
> ***************************************
> The Book of Costume- Millia Davenport
1976- ISBN-0517037165
> single volume edition- (2 copies)  Slightly worn (hb)
>
> English Costume of the Seventeenth Century- Iris Brooke              1977-
ISBN-0713601574
> Like new (hb)
>
> A Handbook of Costume- Janet Arnold      1973- ISBN-0333244893
> Very Good (ppb)
>
> Patterns of Fashion 1660-1860- Janet Arnold
1977- ISBN-0910482500
> Very Good (ppb)
>
> The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980-
ISBN-0131812556
> Some wear (ppb)
>
> Making Costumes for Plays-  Joan Peters/Anna Sutcliffe
1977-  ISBN-0713400293
> Very Good (hb)
>
> Dress and Undress- Elizabeth Ewing       1978- ISBN-0896760006
> Very Good (hb)
>
> Basic Pattern Drafting for the Theatrical Costume Designer- Shaw   1974-
ISBN-0910482497
> Very Good (spiral)
>
> Designing and Making Stage Costumes- Motley       1974- ISBN-0823013197
> Good- written in
>
> Ackermann's Costume Plates 1818 to 1828
1978- ISBN-0486236900
> Like New
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> 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 Nov 30 18:09:14 2003
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From: "Nancy Kiel" <nancy_kiel@hotmail.com>
To: h-costume@indra.com
Subject: Re: [h-cost] information on early medieval weaving techniques
Date: Sun, 30 Nov 2003 18:08:23 -0500
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Dr. Barber was one of my professors at Occidental College in Eagle Rock, CA, 
but that was twenty years ago so I don't know if she's still there.



Nancy Kiel
nancy_kiel@hotmail.com
Never tease a weasel!
This is very good advice.
For the weasel will not like it
And teasing isn't nice.





>From: Heather Rose Jones <hrjones@socrates.berkeley.edu>
>Reply-To: Historical Costume <h-costume@indra.com>
>To: Historical Costume <h-costume@indra.com>
>Subject: Re: [h-cost] information on early medieval weaving techniques
>Date: Sat, 29 Nov 2003 09:45:55 -0800
>
>At 11:14 PM -0800 11/28/03, Althea Turner wrote:
>>Greetings all,
>>
>>I have been trying to find out what kind of looms were used in France 
>>500-800, with very little success.  Does anyone know of a source for this 
>>info?  Barber's book (20,000 Years of Women's Work) ends just about the 
>>time I need.  Does anyone have contact information for her? I've scoured 
>>every online journal database at our library.  Maybe I just don't have the 
>>right search terms.
>>

_________________________________________________________________
Groove on the latest from the hot new rock groups!  Get downloads, videos, 
and more here.  http://special.msn.com/entertainment/wiredformusic.armx

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From: Mara Riley <corbiegirl@yahoo.com>
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Subject: [h-cost] Speaking of looms -- Ebay
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Anyone looking for a Christmas present?  <G>  A friend of mine is
selling some of her weaving stuff on Ebay:

> Lustina Counterbalance Loom and Accessories
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=3125&item=2363497734
> 
> Medieval Replica Warp-Weighed Loom
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2363512373 

> Vintage 1957 English Tabby Loom and Booklet
>
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2363503006&category=3125&
> rd=1 

You can search by seller "kass1013" if the above links don't work.

- Mara

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From: KATHRYN WOLTERS <albrakat7@yahoo.com>
Subject: Re: [h-cost] Yard Sale books
To: Historical Costume <h-costume@indra.com>
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Wow!! What a lucky find! Lots of good useful titles in there!
congrats --and enjoy!
Albra

Linda Rice <vmaa2@cox.net> wrote:
Hi all!

Yesterday my guy came home with a tub full of books. Seems he had run across a yard sale and
stopped to see what they had. He didn't get much for himself, but he picked up these for me because
he knows I like costumes. Yowza! Some of them I know, many of them I've never heard of since I'm
not really into theatrical costuming. Plus, they are all from the '70's which is a quite a bit
before I started collecting books.

And I thought he hadn't been paying attention! ;o>

Here's the list, I would really appreciate any feedback/opinions on any of them. They all look
interesting so I will keep them, sorry! (Books and fabric are my neurotic obsessions!) Besides, he
only paid $8.00 for the whole box. 

Thanks bunches!

::Linda::
***************************************
The Book of Costume- Millia Davenport 1976- ISBN-0517037165 
single volume edition- (2 copies) Slightly worn (hb)

English Costume of the Seventeenth Century- Iris Brooke 1977- ISBN-0713601574
Like new (hb)

A Handbook of Costume- Janet Arnold 1973- ISBN-0333244893
Very Good (ppb)

Patterns of Fashion 1660-1860- Janet Arnold 1977- ISBN-0910482500
Very Good (ppb)

The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey 1980- ISBN-0131812556 
Some wear (ppb)

Making Costumes for Plays- Joan Peters/Anna Sutcliffe 1977- ISBN-0713400293
Very Good (hb) 

Dress and Undress- Elizabeth Ewing 1978- ISBN-0896760006
Very Good (hb)

Basic Pattern Drafting for the Theatrical Costume Designer- Shaw 1974- ISBN-0910482497 
Very Good (spiral)

Designing and Making Stage Costumes- Motley 1974- ISBN-0823013197
Good- written in

Ackermann's Costume Plates 1818 to 1828 1978- ISBN-0486236900
Like New










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Subject: Re: [h-cost] blue pigments (was Latest outfits)
References: <20031129.230220.-339267.0.Seamstrix@juno.com>
	<002301c3b72c$319c0b60$38d2adcb@michaela>
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>>The problem with blue based colours is how expensive the paint was.
>>The dye is relatively easy and cheap to produce. 
> 
> 
> Really?  I had not heard that argument before.  Do you have a source for that?
> 

Jumping in here...

I have _The Way Howe to Lymne_ from a V&A exhibit of Tudor portrait 
miniatures. There is some discussion of pigments in the 2nd half of the 
book, based on examinations of the portraits and from 4 treatises on 
limning, one of which was written by Nicholas Hilliard (though I can't 
find a date mentioned in the text here).

A pigment known as 'bice' was "the brilliant blue made from azurite 
which was normally used for the backgrounds of miniatures until the 16th 
century."

There was also "a dull blue pigment made from cobalt glass" called 'smalt'.

'Ultramarine' "is made from the rare mineral lapis lazuli which, in the 
sixteenth century, made the long journey to western europe from 
Afghanistan via the trade centre of Venice..."

The book says Indigo was "made from a plant dye imported from the 
Orient." 'Florey' was the color made from woad "sometimes stained onto a 
  white base to make a lighter blue."


In the case of the azurite and lapis lazuli, the stones would have been 
ground fine, heated to remove impurities, and put through a laborous 
process of mixing them with oils or paste and washing the mixture to 
extract the color into water, which would then evaporate to leave pure 
color pigment.

As I recall from my art history classes, the rare blue lapis pigments 
were usually reserved for the dress of the Virgin Mary during medieval 
times. This book says that lapis became more available in the 1600's due 
to increased trade.



Dawn



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Subject: Re: [h-cost] Latest outfits, was wondering
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> Yep, I spent quite awhile surfing them. It's nice to see that shades of
> blue were used since you usually see the browny/goldy end of the color
> spectrum more often. I'm also glad that blues are good for early 16th
> century since I have coloring very much like yours and look like Death
> (and not in a good-Neil Gaiman sort of way) in most warm browns and
> golds.

Yeah, for years I thought blue made me look like death not even warmed up..
but for some reason it changed a few years ago.

So when we realised various shades of blue are perfectly acceptable for this
particular era/area... *voooooooooooooommmmmmmmmm* was the sound of me
snatching up some curtains;)

The Germans seem very fond of vibtant coloursa ctually.. yellows, oranges,
greens, reds, a few blues. Not to mention the brocades...

Colour tarts the lot of them;)

michaela
http://costumes.glittersweet.com


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To: "Historical Costume" <h-costume@indra.com>
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Subject: Re: [h-cost] Latest outfits, was wondering
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> Yup! I also found myself lusting after a lovely teal colored german style
dress--in fact, have been looking over all those Lucas Cranach portraits all
morning long when I'm supposed to be working on my Italians!!! Sigh!  So
many gorgeous costumnes to make ! Sooo little time!

*whispers* doitdoitdoitdoitdoit.. Like the nike ad says;) Just do it;)

mwahahahah...  like with the Viking garb on historiska the brighter the
better;)

Seriously though, if the fabric comes your way, and it's a good deal, don't
turn it down. Do you ever work on two different styles? It helps me be able
to actually work and get things done by distracting when a bit of
bordom/frustration sets in;)

michaela
http://costumes.glittersweet.com


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From: Robin Netherton <robin@shell.nightowl.net>
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Subject: Re: [h-cost] blue pigments (was Latest outfits)
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On Sun, 30 Nov 2003, Dawn wrote:

> As I recall from my art history classes, the rare blue lapis pigments
> were usually reserved for the dress of the Virgin Mary during medieval
> times. This book says that lapis became more available in the 1600's
> due to increased trade.

That was a typical use, but extremely fine manuscripts used lapis
elsewhere too. The Duc de Berry's manuscripts are loaded with ultramarine
blue. In Baxandall's book on painting in 15th c. Italy, there are
citations of contracts with painters in which payment is based on the
quantity of ultramarine to be used in the artwork.

--Robin

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From: Catherine Olanich Raymond <cathy@thyrsus.com>
To: Historical Costume <h-costume@indra.com>
Subject: Re: [h-cost] blue pigments (was Latest outfits)
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On Sunday 30 November 2003 09:43 pm, Dawn wrote:
> >>The problem with blue based colours is how expensive the paint was.
> >>The dye is relatively easy and cheap to produce.
> >
> > Really?  I had not heard that argument before.  Do you have a source for
> > that?
>
> Jumping in here...
>
> I have _The Way Howe to Lymne_ from a V&A exhibit of Tudor portrait
> miniatures. There is some discussion of pigments in the 2nd half of the
> book, based on examinations of the portraits and from 4 treatises on
> limning, one of which was written by Nicholas Hilliard (though I can't
> find a date mentioned in the text here).

[specifics about pigments snipped for space reasons]

> As I recall from my art history classes, the rare blue lapis pigments
> were usually reserved for the dress of the Virgin Mary during medieval
> times. This book says that lapis became more available in the 1600's due
> to increased trade.

Thank you.  Though I'm not clear on the extent to which the V&A exhibition 
book Dawn mentions answers my question.

I remember (from a prior discussion on this list involving Robin Netherton) 
that in the 15th c there was considerable difference between the blues 
available in clothing and the blues available to use in painting minatures.  
In other words, the blues available in clothing to either rich and poor 
wouldn't have had the same tone as the blues used to depict clothing in 
illuminated manuscripts.

However, most of the early 16th c. depictions on Michaela's webpage are not 
from manuscripts, but early oil paintings.  So I guess my question becomes 
something more like:

*Were the same rare pigments used on minatures also used in early oil 
paintings?

*And could period dyers achieve the same teal blue color with the dyes 
available to them?

(Either way, I *still* love Michaela's Anne of Cleves dress and I'm glad she 
made it the way she did).


-- 
Cathy Raymond <cathy@thyrsus.com>

"Anything's within walking distance if you have the time." -Steven Wright
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> *Were the same rare pigments used on minatures also used in early oil
> paintings?

Some were, some weren't.

However,  the pigments for oil painting are more easily mixed and 
used than those for manuscripts. It's one of the reasons why you can 
have such color variety for oil painting compared to illuminations.

> *And could period dyers achieve the same teal blue color with the dyes
> available to them?

They could get many varieties of teal color (depending on what you 
call a teal.) If you are talking about the very blue toned dark 
green, this could have been done with a weld overdye of an indigo 
dyed fabric. The exact shade you can get depends entirely on the 
skill of the dyer.

Once you get logwood, it's even easier to get teal colors. However, 
indigo was a better dye than logwood until they were able to work out 
some of the mordanting problems so that the logwood didn't destroy 
the fabrics. England (although they were the source of the needed 
mordant: tin) didn't have the safer process until after Elizabeth's 
death. (The Netherlands had the process and were importing the tin to 
use for dyeing with logwood. Interesting politics were involved.)

It's fascinating looking at all the color names from during 
Elizabeth's time. Some of them we know only because they had been 
banned or because it was on the list of the "OK" colors to use.

Kat
<kat@redtrollforge.com>


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As one of the guys on the list, this is not a pat on the head you did good
load of books.  This is a scented candles, kids somewhere else, take me now!
load of books.

Stephen Bergdahl

"I don't suffer from insanity!  I fact I rather enjoy it!"

----- Original Message -----
From: "dshoover" <dshoover@comcast.net>
To: "Historical Costume" <h-costume@indra.com>
Sent: Sunday, November 30, 2003 1:43 PM
Subject: Re: [h-cost] Yard Sale books


> Eight dollars?  Good grief why can't I find garage sales like that.  There
> is over two hundred dollars if not more, worth of books there.  Tell your
> husband he did a good lob.  Debbie
> ----- Original Message -----
> From: "Linda Rice" <vmaa2@cox.net>
> To: <h-costume@indra.com>
> Sent: Sunday, November 30, 2003 10:56 AM
> Subject: [h-cost] Yard Sale books
>
>
> > Hi all!
> >
> > Yesterday my guy came home with a tub full of books. Seems he had run
> across a yard sale and
> > stopped to see what they had. He didn't get much for himself, but he
> picked up these for me because
> > he knows I like costumes. Yowza! Some of them I know, many of them I've
> never heard of since I'm
> > not really into theatrical costuming. Plus, they are all from the '70's
> which is a quite a bit
> > before I started collecting books.
> >
> > And I thought he hadn't been paying attention! ;o>
> >
> > Here's the list, I would really appreciate any feedback/opinions on any
of
> them. They all look
> > interesting so I will keep them, sorry! (Books and fabric are my
neurotic
> obsessions!) Besides, he
> > only paid $8.00 for the whole box.
> >
> > Thanks bunches!
> >
> > ::Linda::
> > ***************************************
> > The Book of Costume- Millia Davenport
> 1976- ISBN-0517037165
> > single volume edition- (2 copies)  Slightly worn (hb)
> >
> > English Costume of the Seventeenth Century- Iris Brooke
1977-
> ISBN-0713601574
> > Like new (hb)
> >
> > A Handbook of Costume- Janet Arnold      1973- ISBN-0333244893
> > Very Good (ppb)
> >
> > Patterns of Fashion 1660-1860- Janet Arnold
> 1977- ISBN-0910482500
> > Very Good (ppb)
> >
> > The Costumer's Handbook- Rosemary Ingham/Elizabeth Covey       1980-
> ISBN-0131812556
> > Some wear (ppb)
> >
> > Making Costumes for Plays-  Joan Peters/Anna Sutcliffe
> 1977-  ISBN-0713400293
> > Very Good (hb)
> >
> > Dress and Undress- Elizabeth Ewing       1978- ISBN-0896760006
> > Very Good (hb)
> >
> > Basic Pattern Drafting for the Theatrical Costume Designer- Shaw   1974-
> ISBN-0910482497
> > Very Good (spiral)
> >
> > Designing and Making Stage Costumes- Motley       1974- ISBN-0823013197
> > Good- written in
> >
> > Ackermann's Costume Plates 1818 to 1828
> 1978- ISBN-0486236900
> > Like New
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > _______________________________________________
> > 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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